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THE TYPOGRAPHIC 
TREASURES IN EUROPE 


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CHRISTOPHER PLANTIN 


(CHRISTOPHORUS PLANTINUS) 


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by Edward Pellens 


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Trew yy POGRAPHIC 
TREASURES IN EUROPE 


Anda Study of Contemporaneous Book Production 
in Great Britain, France, Italy, Germany, Holland and 
Belgium, with an Addendum by J. W. Muller Giving 
the Principal Dates and Personages in Printing History 















































































































































































































































BY EDWARD EVERETT BARTLETT 


GaP PUiLENAMISSSONS 
NEW YORK AND LONDON 
MCMXxXV 


BO Se Rr mea aioe ers 





TABLE OF CONTENTS 


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TABLE OF CONTENTS 
PRINTING AND TYPE-FOUNDING 
Page Page 
AMSTERDAM 49 | FELL, DR. JOHN a3 
ANTWERP, MONUMENT TO PRINTING 49 | FLINSCH-BAUER TYPE-FOUNDRY 42 
ASHENDENE PRESS 29 | FOURNIER INFLUENCE 38 
BASKERVILLE, JOHN 34. | FRENCH BOOKS feying las 
BEHRENS, PETER 41 | FRENCH INFLUENCE ON EUROPEAN 

BELWE, GEORG 42 TYPOGRAPHY ou 

BERNER, KONRAD 47 | FRENCH AND AMERICAN INFLUENCE ON 
BERNHARD, LUCIAN 41 ITALIAN PRINTING a7 
BERTIERI, RAFFAELLO 38 | FROME PRESS 34. 
BODONI, GIAMBATTISTA 37 | GENZSCH AND HEYSE 42 
BRUSSELS 49,50 | GERMAN TYPE-FOUNDING, HISTORY OF 46 
BUSCHMANN, JOSEPH-ERNEST 50 | GRANJEAN, PHILIPPE a 
CASLON, WILLIAM 33 | GUTENBERG-GESELLSCHAFT 47 
CHISWICK PRESS 33 | GUTENBERG MUSEUM 47,48 
CLELAND, T. M. 37 | HAARLEM 48 
COBDEN-SANDERSON, T. J. 29 | HAND-COLORED BOOKS, FRANCE ads 
COLOR-PRINTING, FRANCE 55 | HORNBY, ST. JOHN 29 
COMMERCIAL PRINTING, INFLUENCE OF 30 | HORNE, HERBERT P. 29 
CZESCHKA, C. O. 42 | HUPP, OTTO AI 
DANIEL, REVEREND C. H. O. 34. | IMPRIMERIE NATIONALE ou 
_DEBERNY & PEIGNOT, IN ENGLAND 34 | JONES, GEORGE W. 29, 34 
DEBERNY & PEIGNOT, IN FRANCE 37 | KLEUKENS, CHRISTIAN 42 
DELEMER FRERES, FONDERIE DE 50 | KLEUKENS, F. Ww. 7b in 
DIDOT INFLUENCE 35,36 | KLINGSPOR TYPE-FOUNDRY, ENGLAND 34 

DOVES PRESS 29 | KLINGSPOR TYPE-FOUNDRY, 
DRAEGER FRERES 30 GERMANY 41,47 
DUMONT, JEAN 50 | KOCH, RUDOLF AI 
ECKMANN, OTTO 41 | KOSTER VERSUS GUTENBERG 51 
EGENOLFF, CHRISTIAN 47 | LE GRELLE, COUNT STANISLAO AI 
EGENOLFF-BERNER TYPE SPECIMEN LETTERGIETERIJ, AMSTERDAM 49 
SHEET 47 | LINOTYPE MATRICES, GERMANY 47 
EHMCKE, F. H. 41,42 | LUTHERAN FAMILY TYPE-FOUNDRY 47 
ENSCHEDE, B. F. 49 | MERGENTHALER SETZMASCHINEN- 

ENSCHEDE TYPE-FOUNDRY 49 FABRIK 47 
ERAGNY PRESS 29 | MEYNELL, FRANCIS 29 
ERNST LUDWIG PRESSE 42 | MORETUS, EDOUARD 49 


TABLE OF CONTENTS—Continued 


Page 
MORI, GUSTAV 46 
MORRIS, WILLIAM, IN ENGLAND 29 
MORRIS, WILLIAM, IN GERMANY 45 
MUSEUM ENSCHEDE 48 
OFFENBACH 34 
OXFORD UNIVERSITY PRESS ae 
PELLETAN, EDOUARD 54 
PICKERING, WILLIAM 33 
PISSARRO, LUCIEN 29 
PLANTIN, CHRISTOPHER 49 
PLANTIN-MORETUS MUSEUM 49, 50 


PRIVATE PRESSES INENGLAND 2Q, 30, 52 


RICKETTS, CHARLES 29 
RISORGIMENTO GRAFICO, IL 38 
ROMAN VERSUS GOTHIC IN GERMANY = 4.1 
ROOS, S. H. DE 49 
SABBE, DR. MAURICE 49 
SCHELTER AND GIESECKE 42 








TYPE-FACES 


AS MENTIONED IN THE TEXT 


Page 
ANTIQUA, IN HOLLAND 48 
ASTREE, IN FRANCE Bg 
BASKERVILLE, IN ENGLAND 34 
BENEDICTINE, IN BELGIUM 50 
BENEDICTINE, IN FRANCE 38 
BENEDICTINE, IN ITALY 38 
BODONI, IN BELGIUM 50 
CARACTERES DE L’UNIVERSITE, IN 
FRANCE 37 
CASLON, IN BELGIUM 50 
CASLON, IN ENGLAND 33 
CENTURY, IN BELGIUM 50 
CHELTENHAM, IN BELGIUM 50 
CHELTENHAM, IN ENGLAND aye 
CHELTENHAM, IN FRANCE AG: 
CHELTENHAM, IN GERMANY nia 
CHELTENHAM, IN HOLLAND 48 





Page 
SCOTTI, COMMENDATORE PASQUALE 41 
STAMPA VATICANA 4I 
STEGLITZER WERKSTATT 42 
STEINER-PRAG, HUGO 42 
STEMPEL, D., TYPE-FOUNDRY 41, 46, 47 
STEPHENSON, BLAKE & COMPANY 34 
TETTERODE, VOORHEEN N. 49 
TIEMANN, WALTER AI 
TYPE-DESIGN IN GERMANY 41 
TYPOGRAPHIC REFINEMENT IN GREAT 
BRITAIN 26 
TYPOGRAPHY IN HOLLAND 48 
VALE PRESS 29 
VANDERBORGHT, A. AND DUMONT 50 
VATICAN PRINTING OFFICE 38 
WALKER, EMERY 29 
WEISS, E. R. AI 
WOODCUT, THE, IN FRANCE 54s\e6 
Page 
CHELTENHAM, IN ITALY 38 
COCHIN, IN ENGLAND 34 
COCHIN, IN FRANCE a7 
DIDOT, IN FRANCE a9 
ELZEVIR, IN BELGIUM 50 
ELZEVIR, IN FRANCE 37 
FELL, IN OXFORD ; 33 
FRAKTUR, IN GERMANY 46 
GARAMOND, IN FRANCE on 
GARAMOND, IN GERMANY 47 
MEDIEVAL, IN HOLLAND 48 
MOREAU-LE-JEUNE, IN ENGLAND 34 
NARCISS, IN ENGLAND 34 
NARCISS, IN GERMANY 47 
ROMAIN DU ROI, IN FRANCE ae 
SCHWABACHER, IN GERMANY 46 


SCOTCH, IN ENGLAND 33 


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ILLUSTRATIONS 
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CHRISTOPHER PLANTIN (CHRISTOPHORUS PLANTINUS) Frontispiece 
From a W ood-engraving in Chiaroscuro by Edward Pellens 
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From a Drawing by Clarence P. Hornung 
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From a Drawing by Clarence P. Hornung 
GiaMpaTTIsTa Bopont 39 
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PREFACE 


N the course of European journeys on typographical missions, it has been my 


fortune to have access, often of unusual nature, to the great examples of printing 

that all book-lovers long to see. It would be pleasant, but hardly important, to 
enlarge on the personal enjoyment derived from these experiences; what I wish 
to discuss here is the value of the opportunities to me asa printer. From every study 
of a European collection I have returned better equipped for my profession. As the 
practical benefits accumulate, I feel more acutely that such study, which should be 
for every printer, is in fact a privilege limited to the few men able to spend the neces- 
sary time abroad. The question is dominant in my mind: “What can we in America 
do to give our craftsmen the knowledge and inspiration to be obtained from these 
examples of the best that the art of book-making has achieved?” It is an abnormal 
fact that the printing profession in America is poorer in illustrative educational ex- 
amples than is any other of the creative arts. From the beginning of his studies, the 
young architect has drawings, prints, photographs and other replicas of every style 
and of almost every monument of architecture. The painter, the designer and the 
sculptor, aside from direct access to galleries, are served with reproductions of practi- 
cally every important example of their art in the world. The young printer in America 
has none. Occasionally an enthusiastic printer reproduces a title-page or other part 
of a fine old book, and circulates it as freely among his colleagues as its cost permits; 
now and then trade periodicals do the same; once in a long while a printing ap- 
prentice may see, and possibly handle, some of the great books themselves, through 
favor of a public library or a generous private collector; but all these opportunities 
are so rare that we must dismiss them as negligible for general education. Most of the 
young men whom we are trying to train never have seen the masterpieces of the art 
which they are studying, and, as the situation is now, they never will see them. Such 
reproductions as are issued are not only too few for effective service, but they lack 
the authority which educational material must have; they do not necessarily repre- 
sent well-chosen examples of early printing; they are not necessarily good replicas; 
indeed, while some of our eminent American printers have produced a few really 
noteworthy specimens, a great proportion of the alleged reproductions are not 
replicas of the original pages at all, but simply reproductions of previous reproduc- 
tions, so often repeated that the quality and the very significance of the original 
masterpiece are quite extinguished. All thisrandom material must be dismissed from 
serious consideration for education; and we must similarly dismiss the few volumes 
de luxe of reproductions which cost so much that only a few printing establishments 


[17] 


can afford to possess them. Yet nothing is so important as a really systematic and 
authoritative supply of fine examples. For years the printing industry has struggled 
with the serious problem of training apprentices. Craftsmanship demands inspira- 
tion, and inspiration can not be created, though it can be aided, by training. Its 
source must be found, as it has been found in every age, in every art and every craft, 
in the good examples of what has been done by the masters. We must have such ex- 
amples not only to inspire our young craftsmen, but to inspire young men of the 
right kind to enter the printing profession. The industry can not advance as art (or 
in the long run even as industry) if it must depend on haphazard entrance of young- 
sters who choose printing merely as a good trade and are quite indifferent to its ap- 
peal asa creative profession. I think that we have made the mistake of assuming that 
our students can, if they wish, study the printed masterpieces in the public libraries. 
It will be well for us to recognize this as a delusion. The collections in American 
libraries are comparatively small, rarely of sufficient scope, and they are neither in- 
tended nor selected for the apprentice in printing; the books are too valuable to be 
accessible to any excepta limited few. So magnificent a collection as the J. Pierpont 
Morgan Library which has been given by the present Mr. Morgan to the city of 
New York, never can be thrown open to general use. We must recognize also that 
the flow of great early printed books to America has stopped. Europe, which long 
failed to view its books as national possessions equal in worth to its paintings and 
sculptures, is no longer indifferent. Europe intends to remain the storehouse of the 
world’s typographical treasures; only the most desperate need could today induce a 
national or state library to part with a single good example, and if, in an isolated case, 
such a sale were to occur, the price exacted would be enormous; as a matter of fact, 
the people and their governments are at the point where they are not willing to see 
even a privately owned example go toa foreign country. This refreshed zeal for pro- 
tecting a great inheritance is not narrow or selfish. In England, France, Germany, 
Italy, Holland and Belgium I found an equal zeal for making the treasure useful to 
the world. Should the American printing industry wish to establish an institution 
for obtaining replicas to serve the printers on this hemisphere, the libraries and mu- 
seums of Europe can be counted on for hearty co-operation. There should be such 
an institution: a museum to serve North America as the Plantin Museum ought to 
serve Europe; that is, a center at which masterpieces could be freely inspected, and 
from which copies of them could be circulated, so that the most remote and humble 
shop might have the opportunity to know and study what our art has accomplished 
in its great past and, therefore, what we of today can and should accomplish. 
THE AUTHOR 


[18 ] 


INTRODUCTION 








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INTRODUCTION 


T is customary to speak of printing as an art of marvelous development in the 


comparatively few centuries that have elapsed since the first book was printed 

with types. The statement is true in so far as it refers to equipments and processes 
that are at command of the modern printer. Few industries have been more favored by 
inventiveness and mechanical progress. The difference between the roadside smithy 
of the fifteenth century and the metallurgical plants of today is greater in scale but no 
greater in fact than the difference between the little shop of Gutenberg in Mainzand 
the printing establishments of modern Europe and America. But the art of the book 
(and the principle of the book-page is a fundamental principle of all printing) 
has not so developed. Its history is a history of incessantly repeated loss and re- 
establishment of quality; there has been no time when printing asa fine art has not 
been challenged by printing asa trade conceived in its ignoble term, sans craftsman- 
ship, sans even trade ideals. Nothing can be more absurd than to ascribe these peri- 
odic retrogressions of the art to changes in economic conditions or to the invasion 
of modern machinery. Long before the sixteenth century ended, printers working 
under the same economic conditions as their great predecessors of the Rhine and 
of Venice, with the same guild systems from which to draw workers, with the same 
appliances, produced books that were as poor as any book produced in later periods 
of degraded printing. Their books were poor, not because they were printed with 
primitive equipments, but for the same reason that applies to a poor modern book 
printed on a splendid modern press. The Gutenberg Bible, the first book, printed 
on a wooden screw-press, with the first or nearly the first types ever designed and 
cast, still stands as one of the finest printed books. It does not owe that quality to the 
fact that it was produced tediously with crude equipment and with the pain of in- 
finite labor. It is what it is, because it was created with thorough understanding of 
what a book must be—a utility and a work of art. The book that is either, to the 
exclusion of the other, is nota good book. All the “periods” of printing have in fact 
been brought about by alternate forgetfulness and revival of this principle. There 
have been periods when not the ugly book but the over-decorated book injured 
the art. The error of over-beautification did not, it is true, degrade book art; but 
while its influence lasted it diverted the art from its right direction. None of these 
periodic errors can be ascribed to conditions related in any way to the exterior cir- 
cumstances of the time. To say that modern processes and modern equipments make 
the production of an inferior book easy, is to turn the argument upside down. Surely 
it is “easier” to produce poor results with poor equipment than with good. In the 


[2r] 


twentieth century, as in the fifteenth and sixteenth, the whole issue is that of apply- 
ing what is vaguely called “taste’”’-— that conscious art which never loses sight of the 
purpose to be attained, and which unites knowledge, training and talent. It is not 
enough that the printer alone possess this understanding. In no age has a degrada- 
tion of the book been due alone to degradation of the printing craft. No student can 
go far in the history of any debased book period without recognizing that publishers 
and authors were jointly to blame—that they were negligent to a degree that would 
seem incredible if contemporaneous evidence were not before us to prove it. During 
more than thirty years in fields of publishing, from newspapers to books, I have dealt 
with few authors who had the least knowledge, or seemed in the least to care, how 
their work was to appear in print; and I myself must confess to sucha lack of interest 
in my early years. As an editor, I have found that the general tendency in publishing 
offices is to consider the whole cycle of printed production as a single step from the 
edited manuscript to the press. Design of pagesand typographic execution are all too 
often considered merely technical matters to be accomplished in some more or less 
mechanical way by the “printing force.” Those editors and publishers who are ex- 
ceptions to this rule will bear me out in the assertion that they are exceptions. The 
printer (again with certain bright exceptions) has accepted the position thus thrust 
upon him. He does not even expect what should be his unquestioned right—an op- 
portunity to discuss the significance and spirit of a manuscript with author, editor 
and publisher. The manuscript comes to himasa frigid mass of paper, and unless he 
be a poet of his craft, the typographical composition is bound to be uninspired. 
Design does not grow from manipulation. It is born in the spirit. About ten years 
ago 1t became my privilege—esteemed at its full value only slowly as my understand- 
ing grew—to become an associate of a printer who has been laboring for many years 
to inspire men with his own feeling for the dignity of printing. It has beena labor of 
love, for he himself has long helda position which is secure. In these ten years, much 
has been accomplished. The group which, under his direction, has had the happi- 
ness of co-operating with other groups and individuals zealous for the same cause, 
feels that it is not too much to say that a renaissance of printing has begun. The 
author of this book, in which I consider it an honor to be named as collaborator, is, 
I believe, entitled to a not subordinate place as one of those instrumental in this 


accomplishment. 
J. W. M. 


[22] 


JBI S TEN ONG RAY els KG 
TREASURES IN EUROPE 





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AND A STUDY OF CONTEMPORANEOUS BOOK PRODUCTION IN 
GREAT BRITAIN AND ON THE CONTINENT, WITH NOTES 
ON RECENT TYPOGRAPHIC ACTIVITIES 


2HERE 1s no doubt that for a long time to come, 
perhaps always, national groupings will tend to 
produce differences between the typographies of 
nations. I do not refer to such obvious contrasts 
as are caused by the preference for Gothic in 
some lands as against Roman in others. Nor am 
I thinking of those differences due to temporary 
nationalistic or racial fashions, whose chief characteristic too often 
is impatient abandonment of the fundamental rules of every art. The 
differences that are really importantand instructiveare those that we 
perceive when we compare national productions which are equally 
sound, equally constructed in obedience to recognized principles. 
An English book, a French book anda German book, similar in for- 
mat, with oneand the same simple use of simple types (indeed, often 
using the same or practically the same face), will still be so unlike 
that the utterly untrained eye of the layman can not fail to perceive 
it. Minute touches of national taste, delicate nuances of method, 
succeed in making the same typographicmaterials producestrikingly 
different results, each beautiful, each correct, each made in accord- 
ance with thesame good rules. There could beno more graphiclesson 


[25] 





for the printer who believes that to get original typographic quality 
into his work, he must use “original” or “distinctive” type or other- 
wise depart from established rules of book-design. The error has 
found believers in every century since printing was invented, and in 
each case it has harmed the printer who made tt his fetish. It seems 
to have a certain evil life of its own. The best medicine for it is a 
study of the various good national typographies, with parallel study 
of the great masterpieces of printing since the beginning. They all 
demonstrate the one simple truth—that the standard type forms, 
used with simple correctness, offer opportunity for infinite variety. 
With strict adherence to the accepted rules of the book, without 
seeking novel types, without resorting to devices differing from 
those always used by good printers for good books, the exercise of 
taste, knowledge and judgment will enable the printer of today and 
of the future to make each production a new one, with its own 
unmistakable and delightful stamp of style—which 1s the only 
“originality” that has, or ever will have, vitality. 

If any evidence were needed to demonstrate to us of the United 
States and Canada that we were on the right track when we estab- 
lished the classic types as our standard, it would be in the fact that 
the leading printers and typographers of Europeare today in accord 
on this fundamental principle. They seek their renewed inspiration 
from those pure letter-forms that belong to all men and all ages and 
that will always be as “modern” as they are old. 


TYPOGRAPHIC REFINEMENT IN GREAT BRITAIN 


The campaign of the past ten years for typographic purity in 
North America has its parallel in Great Britain, where the move- 
ment (begun there as here by what seemed a hopeless minority) 
has gained adherents steadily. ‘The most easily observable result is 
shown in current literature and especially in the newspapers, whose 
advertising is of marked typographic improvement. 

The growing appreciation of type by book and commercial print- 
ers is a happy change from the attitude of indifference that I found 


[ 26 ] 








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in Englanda few yearsago. Typographic purity is recognized as not 
simply an artist’s counsel of perfection butas the fundamental value 
of practical printing for any of its purposes. 

Credit for this revival of high artistic standards in British print- 
ing is directly due to the private and semi-private presses founded 
under the inspiring influence of that true creator of a modern renais- 
sance, William Morris. Theirlabor for many years was indeeda labor 
of love. Not until the last ten or fifteen years did men appreciate 
what such printers and designers as Charles Ricketts, T. J. Cobden- 
Sanderson, Emery Walker, St. John Hornby, Lucien Pissarro, 
Herbert P. Horne, George W. Jones, Francis Meynell are doing for 
the whole printing art. Today every true printer realizes that their 
work was not “art for art’s sake,” as it was generally viewed at first, 
of interest to only a few bibliophiles, but that they were in fact 
restoring the art for all—for the men who print the most “commer- 
cial” of things as well as for the men who print books of high order. 

In the beginning, particularly between 1895 and 1910, the pri- 
vate presses considered specially designed faces of type essential. It 
was an appeal to the collector of limited editions who believes that 
his acquisition is made more “precious” by being printed with a 
type that no other publisher can obtain. Fortunately, few of the pri- 
vate press designers sought the meretricious originality of novelty 
inletter form. Asa group they tried, sincerely and witha high degree 
of success, for the simple dignity of the Roman letter designed by 
the great fifteenth century printers of Venice. 

It is instructive to note that those private press types which have 
succeeded in holding favor are those which stand today as having 
most nearly attained the old classic quality, and which are most 
nearly free from injected “personality.” It 1s equally instructive to 
note that these specially designed faces have not led to any impor- 
tant production of similar special forms tor general use. 





William Morris founded the Kelmscott Press in 1891. It was conducted in Kelmscott Manor, 
an Elizabethan house on the upper Thames River, where he had established himself in 1872. 
Private presses following the Morris leadership were founded as follows: Ashendene Press, 
1895; Vale Press, 1896; Doves Press, 1900; Eragny Press, 1903. 


[ 29 | 


Their great service has been to demonstrate to printers and type- 
founders that the best of the early Roman letters still furnish our 
best foundation for modern type-design. Students today recognize 
that the important merit of the private press books does not come 
from specially designed types. The books are 2ood because the men 
who made them understood the art of the book. In their hands any 
perfectly designed standard type would have produced distinguished 
results. T'ypography demands good types, not unique types. 

Recognition of this fact has been the most powerful single factor 
in the really great progress that printing has madein the last ten years. 
In this general progress, the commercial printer has been the leader. 
Though a commercial printer myself, I say it with regret, for the 
publishers and printers of purely literary works should have been 
foremost in book art. I hope earnestly that the time is coming when 
every book for general reading, important or unimportant, willagain 
bean example of that art—not by being sumptuous, but because It is 
designed with understanding of its content and spirit. 

At this time, however, it is the business man (particularly the 
business man of the United States and of England) who encourages 
high standards of typography and printing. He does tt, to be sure, 
for purely practical reasons but the result has been to keep the art of 
the well-designed book page alive; for ““commercial”’ printing 1s in 
no fundamental sense different from “book printing.” Every body 
of composed type 1s in principle of design a book page. The typo- 
eraphic artist who is competent to design a good title-page or a 
good page of text is sure to be able to compose any “commercial” 
printing well. Herein lies explanation of the fact that many of the 
best object lessons in good printing reach the general public today 
in the form of commercial literature. 





Though laying stress on the encouragement that commercial art receives in the English- 
speaking nations, I do not ignore the fact that the Continent produces masterpieces of com- 
mercial art. Latin, Teutonic and Slav poster work is eminent. For catalogues and similar matter, 
such French firms as Draeger Fréres are entitled to high place in any international survey. But it 
remains true that on the Continent only the progressive minority of business men as yet supports 
genuine art in printing, while in Great Britain and the United States, the latter particularly, 
commerce and industry as a whole have learned that beauty has a concrete practical value. 


[ 30 | 

























































































































































































































































































































































































FIRMIN DIDOT 


From a Drawing 


by Clarence P. Hornung 


eas 
? 


ita) 
hah Son 
A eat | 
A ‘ 
; 
‘ 





WE! 


OF Tus 


ric De | 


be 


Dea 


be 


| 


m* 


aN x 2 * 


_ 
* 
i 





The best of the commercial printers demonstrate daily what can 
be done with the good standard faces. In England, as in the United 
States, such good designsas the letter given to the world by William 
Caslon are in high favor. Produced in 1722 and revived in 1844, it 
remains all that type ought to be, not disputing for place with other 
recognized standard faces, but with them forming a group sufficient 
in the hands of craftsmen for almost all purposes. 

In England it retains leadership, and Scotch Roman also holds its 
high and rightful place. Cheltenham, the other leading face, 1s per- 
haps the one that may be called the most nearly international in point 
of wide use, for itis almost equally popular in North America, Great 
Britain, France, Germany, Italy, Holland and Belgium, especially 
for newspapers. 

Another type held in high regard by British printers 1s the Fell 
type owned and used by the Oxford University Press. It isa Dutch 
face, owing its name to the fact that 1t was purchased by Dr. John 
Fell, then Dean of Christ Church, later Lord Bishop of Oxford. He 
began his purchases in 1668, and between that time and 1672, per- 
sonally and through agents he not only accumulated full fonts of 
type, but a great assortment of punches and matrices to insure the 
production of new types whenever needed. It 1s fairly well estab- 
lished that the material was the product of Christoffel Van Dik 
(also spelled “Dijck” and “Dyck’’) and Dirck Voskens of Amster- 
dam who cut types for the Elzevirs and for many other continental 
printers of the period. In 1672 Dr. Fell presented the complete 


The history of the introduction, disappearance and revival of Caslon’s type is eloquent 
evidence of the tendency of industrial art to recede from its own high levels. There had been a 
long period of shabby printing when William Bowyer encouraged Caslon to cut the Roman 
letters which he used in 1726 in a sumptuous editionof John Selden’s works. They were received 
with actual enthusiasm. Even the untrained eye could perceive that a new and vivid character 
had been brought into English typography. They inspired type-designers on the Continent and 
became the favorite type of Colonial America. Yet the printing industry allowed itself to for- 
get them, and to accept a reign of miscellaneous types, mostly base. After they were resurrected in 
1844 by a great publisher, William Pickering, with the invaluable aid of the Whittinghams of 
the famous Chiswick Press, their high quality was recognized again instantly. Why, then, were 
these superb letter-forms ever suffered to fall into oblivion? Because in every industrial art there 
is a proportion of uninspired, stolid production which tends, unwittingly, blindly, but unremit- 
tingly, to lower all standards to its own level of comprehension and ability. 


Pstead 86 


equipment to Oxford University Press. After being used for some 
time it was stored away and forgotten. It was covered with the dust 
of two centuries when it was resurrected by the Reverend C. H. O. 
Daniel,who, in 1845, had started a little private press at Frome which 
he afterward continued at Oxford. His first use of the Fell type was 
in 1877, when he reprinted a seventeenth century sermon. Since 
then it has been utilized for many of the Oxford publications. 

Among other types which I found superior to the average pro- 
duction isa Baskerville, produced by Stephenson, Blake & Company 
and duplicated in excellent style in outline shaded. Another shaded 
face is of German origin, from the Klingspor Schriftgiesserei of 
Offenbach, one of Germany’s very good foundries. It 1s called 
Narciss and enjoys vogue on the Continent. British printers use also 
some French types, there being considerable though scattered use 
of the types modelled upon the copper-plate lettering of Nicolas 
Cochin, also a French outline face called Moreau-le-Jeune, which, 
like the Cochin designs, is the product of Deberny & Peignot of 
Paris, a firm of type-founders whose work has had an influence 
throughout Europe that compels further reference. 

England’s printers joined in a fine tribute rendered in London in 
1924 to George W. Jones in honor of his fiftieth anniversary in the 
printing industry. As one of the distinguished speakers said, “Mr. 
Jones 1s an artist whose medium of expression is type.” The recog- 
nition given to him and to others who are bringing taste and sound 





John Baskerville’s types present another instance of a distinguished, correct letter-design, 
universally recognized at the time, yet allowed to fall intoalmost complete desuetude. The print- 
ing which he did with the types designed and cast by himself made him so famous throughout 
the world that during the last half of the eighteenth century it became customary to compare a 
printer with Baskerville if the highest compliment was to be paid. Curiously enough, France re- 
mained appreciative of his types long after Great Britain had turned to other designs. When he 
died in 1775, his types were sold to France and passed entirely from British possession. They 
were used in Paris (1784-1789) to print two editions, in 70 volumes 8vo and g2 volumes 
12mo respectively, of Voltaire’s works. We find them again in a broadside of 1789, where they 
are offered for sale with many laudatory remarks, and they were used to print official documents 
during the French Revolution. Power and elegance are combined in unusual degree in the true 
Baskerville letter. i 





George W. Jones has been printing since 1889 inthe Ward of Farringdon Without, which is 
the ward where Wynkyn De Worde set up his press after Caxton’s death. 


[34] 


technique back into British typography speaks well for the future. 
Hiswork, bearingasimprint The Sign of the Dolphin,isknown to those 
American printers who study good foreign production. His long 
printing career is a striking illustration of the real secret of quality. 
He began when appliances were few and almost primitive. In his 
time, hundreds of improved processes and methods have come in. 
He has seen, and has adopted, swift presses, swift composing ma- 
chines. In the past few years he has done work with such a modern 
facility as the linotype, which demonstrates how the true craftsman 
makes modern machineries his instruments for the exercise of his art. 


FRENCH INFLUENCE ON EUROPEAN TYPOGRAPHY 


In French typography, the tendency is to return to the classic 
forms, retaining, however, certain French characteristics, with a mix- 
ture of those types which satisfy the fugitive demand for the flam- 
boyant. As goes France typographically, so goes a considerable part 
of Europe, for French typography exercises powerful influence over 
many of the continental nations, and almost, if not quite, dominates 
those neighbors who use French asa familiar language. 

As in England, America and Germany, the men who are con- 
ceded leaders are turning with renewed interest to the history and 
methods of the great type-designersand printers of the great periods. 
The-current technical literature on typography and book-making 
refers to the great names of the past—Estienne, Tory, De Tournes, 
Colines, Kerver, Didot, Fournier. It is realized afresh that in typog- 
raphy, as in every other art, progress is possible only by emulating 
the masters, not by denying them. 

An interesting topic of discussion 1s revaluation of the place 
held by the Didot family which contributed so many members to 
French type-founding, printing and publishing that study of their 
period is an adventure in genealogy. Their work, and particularly 
that of Firmin and Pierre (I’ainé), sons of Francois Ambroise, and 
erandsons of Francois “the founder,” has been extravagantly eulo- 
gized and fiercely condemned. Neither verdict was just, and neither 


[35] 


contributed to understanding and improvement of type-design or 
printing. Thus the Racine printed by Pierre and Firmin with types 
cut by Firmin, emphatically was not “the most perfect typographical 
production of any country or any age,” as was the French verdict at 
the time; but denial of supereminence must not involve denial of 
taste and knowledge, which the Didots brought in ample measure 
to book art. In the period following the French Revolution, Didot 
types or designs based on them were dominant throughout Europe. 
Expressing the French deification of the “antique” to which France 
(and with it all other continental countries) had surrendered itself in 
the early nineteenth century, the Didot types and manner brought 
an attenuated elegance to the book,so bloodless, so frigidly precise, 
that we cannot today conceive how it could have been admired, un- 
less we bear in mind that all the arts of the time were under, and 
catered to, the same infatuation. It involved no debasement of art, 
but rather the devitalization that attends every surrender of any art 
toa fad. The enormous vogue of the extreme, slender, meticulous, 
brilliant Didot types, and their decline from popularity, are object 
lessons to all who are not convinced of this truth. The Didots were 
not inferior printers, but great printers. They were great type- 
designers. Even their talent could not give life to a fad. 

French type-founding, under the leadership of men who have 
drawn their lesson from history, 1s proceeding today in a manner 
more nearly correct; and, unlike the roads of proverb, which all lead 
to Rome, most of the modern typographic roads that I discovered, 
outside of the Germanic influence, led to France. Many of them led 

Like the preceding gay, ornate, extravagant rococo period, the cult of the Greek and Roman 
antique demonstrated the overwhelming influence of French art and thought over the conti- 
nental Europe of the time. Despite raging political and racial enmities, passion for the French 
fashion swept all circles of society in the other continental nations. Both periods produced a 
great art, or at least great achievements. Speaking specifically of books, they have left many 
examples without which we should be poorer. But on the whole, both periods reversed the 
relations of the book and of pictorial art. They made the book a casket, often a splendid one, 
for the display of the art of illustrator and decorator, engraver and etcher. Even where typog- 
raphy was not deliberately neglected, as it generally was, it still was never recognized as being 


the essential substance. Thus in even the most admirable of these works, we miss something. We 
feel that they belong to an art gallery or museum, not to a library. 


[ 36] 


to Paris, and largely to one foundry—that of Deberny & Peignot. I 
found their influence almost everywhere, and I greatly admired 
much of their product, especially a face named Astrée, one of the 
most desirable types for special uses that has been designed in our 
time, possessing an elegance that has genuine quality. 

The general tendency is decidedly for the lighter faces—Elzevir, 
Didot, Garamond, and the types already mentioned as modelled on 
copper-plate designs of Nicolas Cochin. Many of the French Gara- 
mond types are in no sense like the original. One that is issued under 
the name ts more like an Old Style Antique or Bookman. The face 
which properly bears the name is the Garamond used in the work of 
the Imprimerie Royale (now the Imprimerie Nationale), established 
by Cardinal Richelieu under Louis XIII in 1640, about one hun- 
dred years after Garamond cut the types that are generally referred 
to as Caractéres de l’ Université. Two years after establishment of 
the royal printery, they were used for a book written by Richelieu 
himself; but in 1693, under Louis XIV, Philippe Granjean began 
cutting the royal fonts, Romain du Rot, which became the favorites 
foralong period. 


FRENCH AND AMERICAN INFLUENCE ON ITALIAN PRINTING 


It is most interesting to consider the influence which contributed 
to the decline of printing in Italy from its height of achievement. 
When it began to follow the grand manner of the architecture of 
Bernini and of the Baroque cult, with profuse use of copper-plates 
and wood-blocks and badly assorted types, there ensued a deca- 
dent period which continued pretty much to the time of Bodoni. 





It is only in the past few years that the value and correct place of Bodoni types in contem- 
porary printing have become fully understood. In previous decades those typographers who had 
learned to recognize the faults of the types of the extreme Didot school, with their dazzling 
combination of hair lines and thick strokes, hastily imputed the same fault to Bodoni, not per- 
ceiving that his genius had eliminated the faults and added virtues. As Updike says in his 
PriInTING Types: ‘It can be utilized for short addresses, circulars and advertising with great 
success—as in the charming use of it by Mr. T. M. Cleland. To printer-designers as skillful as 
Cleland it may be recommended.” Mr. Cleland’s use of the face and his modern adaptation of 
the Bodoni manner (worked out in a style emphatically his own) should be studied by all who 
would understand how desirable this type is in modern printing when used in its place and com- 


posed as it should be. 
[37] 


Bodoni, in his earlier work, while under the influence of Didot and 
Fournier, produced typesand printing of the highest order. His best 
period was attained when he cut those types and ornaments for 
which he deserves all the praise that has been given to him. 

Over the period that followed we may draw a veil. A decline 
affecting the printing art ofall Europe and of America did not spare 
Italy, the country which gave us beautiful manuscript letters and 
beautiful type-letters. But Italy never has lost her fine consciousness 
of being guardian of a world’s treasure; and the Italian printer has 
the fortune of not only living amid the records of art, but of working 
inanational environment ofveneration forthem. It may be expected 
that he will play his part in the general revival. I quote a suggestive 
phrase from a recent communication by Raffaello Bertier, publisher 
of I] Risorgimento Grafico, the periodical which is doing so much for 
Italian typography: “It is already a beautiful conquest for the art of 
the press and for humanity to be able to claim as ideal, common and 
universal property, certain forms which originally belonged toa spe- 
cific Latin country.” 

At present, Italian printers are studying the best of American 
work with interest and appreciation. The liking for Benedictine 
Book appears to be general. Asin France, the tendency 1s toward the 
lighter faces, and Cheltenham is a favorite. As a natural phase of 
every revival, the type-founders are seeking to give Italian character- 
istics to their letter-forms, a movement which may in time minimize 
the influence of French typographical practise. This influence seems 
to me observable in Italian contemporary printing. 

If the road of modern European typography leads to France, the 
road of every printer in the world assuredly should lead to Rome, 
to the great Vatican Printing Office and the wonderful Library. If 
any work representative of ecclesiastical printing since its invention 
is not there, I do not know what it could be. This necessarily means 
most of the incunabula and many fine examples of later period, since 
churchly literature offered so much encouragement to the early 
printers. Nor was the interest in literature limited narrowly to works 


[38] 













































































GIAMBATTISTA BODONI 
From Manuale Tipografico, Bodoni 


fo > ee 4 a 
& "4 et: 


> i)" wae te ee Teck eae 
vs ats - 7 a 
fh 


UF THE 
NMIVERS TY « 


Om | 
v 
, P « 
4) a 
«wie 
ope ¢ 





of ecclesiastical character, for monastic scholars did not neglect the 
Latin and Greek philosophers and other classics. I am tempted to 
say that no other collection compares with this as a world’s treasure. 

In this institution is a man, Commendatore Pasquale Scotti, who 
not only loves and understands the great works of the past, but 
himself holds an eminent place in typography and printing as the 
head of the Vatican Printing Office. 

With Monsignore Count Stanislao Le Grelle, Scrittore Onerario 
ofthe Vatican Library,whose enthusiasm over the books seemed asif 
it were as rare and exquisite a privilege to himas it was to me, I pored 
over and fondled such possessions as the Speyer, Ratdolt, Jenson 
and Aldusbooks with otherexamples of the golden period of Venice; 
the first book printed in Italy; the great Bibles of the fifteenth and 
sixteenth centuries; examples of incunabula from presses in all the 
countries which knew the printing press in that period; the best of 
the Florentine books; the books of the Stampa Vaticana; volumes 
of which any one would furnish subject-matter for many analytical 
essays and practical suggestions for today’s printing. 


ROMAN VERSUS GOTHIC IN GERMANY 


In Germany, as in other countries, the demand for more refined 
Roman faces is coming—not so fast, perhaps, because of industrial 
and political conditions, but in evidence nevertheless, and finding 
voice through the better presses and publishing houses. 

An extraordinary feature of German type-founding 1s thealmost 
continuous production of new letter-designs. The foundries vie with 
each other. One cannot open a technical periodical without finding 
announcements of new type-faces. The rivalry keeps many type-de- 
signers busy, and a large part of the typographical discussion in the 
trade publications is by them. Eckmann, Behrens, ‘Tiemann, Koch 
and Hupp, who have produced the most famous types of the Kling- 
spor foundry, and Ehmcke and Kleukens, who are chiefly associated 
with Stempel, are perhaps the best known among the German de- 
signers. Other prominent ones are Bernhard and Weiss, designers 


[42] 


for the Flinsch-Bauer foundry, Schneidler who designs for Schelter 
and Giesecke, and Czeschka and Steiner-Prag who work largely for 
Genzsch and Heyse. Many are artists of reputation in painting, 
architecture and similar fields. Others are specialists in type, whose 
ability and knowledge demand recognition even from onewho must, 
as I do, maintain that letter-design whose main motive 1s novelty or 
variety is injurious to that maintenance of typographic purity which 
is So essential. 

In North America, where printing as both an art and an industry 
has at last recovered from a debauch of “novelty type” production, 
itis hardly necessary to repeat how utterly such striving for novelty 
robs the art of consistent direction, and how it must end finally in 
every printer following his own will o’ the wisp of personal expres- 
sion into his own swamp, where he must flounder and perish. 

Personal expression, or, asit is called nowadays, “self-expression” 
is the spirit of most of these modern German types. I venture to 
touch, with all respect and good will, on what I think has been a 
fundamental factor of German creativeness for many years—the vast 
dominance which Goethe’s thought and philosophy exercise over 
the German thinker. His philosophy of individualism in thought 





Professors Kleukens and Ehmcke were among the leaders in the revival of German art of the 
book, and remain among the leaders in activity and in quality of production. With Georg Belwe 
they established the Steglitzer Werkstatt in 1900, with decisive effect on the whole national 
tendency. In 1906 Professor F. W. Kleukens with his brother Christian undertook direction of 
the private Ernst Ludwig Presse, endowed by the Grand Duke Ernst Ludwig. This press, estab- 
lished in Darmstadt, soon became famous for its sumptuous editions of classical and modern 
works, all of which are characterized by the brilliant talent of ori: as typographic designer, 
colorist, illustrator and decorator. 





It goes without saying that the personality of the worker does and must determine the merit 
of the final achievement. But the impulse of the great artist for self-expression is in the main 
unconscious, and even when conscious is never blatant. The great harm in the contemporary 
preaching of self-expression is that it encourages the poorly equipped artist and craftsman to 
ignore his defects. Even in continental Europe, where the opportunities for technical training 
are plentiful and excellent, the cult is responsible for much sad work and for the ruin of many 
young talents. In the United States, where we are only beginning to institute such training on a 
scale commensurate with our national stature, we are witnessing a veritable mob carnival of pro- 
fessional tyros and amateurs arm in arm. It isindeed a poor American village today that lacks its 
own poet, its own sculptor, painter or musician, and, most frightful for posterity, its own archi- 
tect—all born over-night of self-expression with no trailing rags of knowledge encumbering 


them. 
[42] 





JOHANNES GUTENBERG 


(JEAN GUTENBERG) 
From the Medal 


by Léon Deschamps 


Issued by the French Government Mint 


a bs 
foley 





and expression has moulded German culture and German life, and I 
think there is forgetfulness of his own significant remark that his first 
inspiration for beauty came from his contemplation of classic art 
whose examples surrounded him in his ancestral home. 

The German type-designs, for example, are advertised by the 
founders in terms of the man who designed them. Their eulogists 
praise them largely as personal achievements. An impressive amount 
of talent goes into this work. Considered purely as ornamental de- 
sion, many of them have spirit and grace to please any artist’s eye. 
My criticism is made only from the view-point of typography. As 
I studied this great mass of earnest creative effort, I could but wish 
that the skill and thoroughness might be directed in unity of purpose 
toward reinstating the classic forms of both Roman and Germanic. 
The most valuable service that could be done for Germanic as a 
beautiful ornamental form would be to so purify it of florescence as 
to restore its older legibility and increaseit. In the field of the Roman 
face, the abundant talent in German type-design should succeed in 
giving the national typography noble Roman types, with the old 
clear, serene power in place of the too tender and the too forcible, 
both of which tendencies are noticeable in German typographic de- 
sion today, and which are caused largely by the strife for novelty. 

In Germany, as in America, there is universal recognition of the 
fact that the modern art of the book isindebted to William Morris for 
its present right direction. In the perspective of today, the German 
book-designer knows as we do, that the rich decorative features of 
his work were, after all, only expressions of his own creativeness as 
an artist; and that the great service he gave us was the rediscovery 
of the classic treatment of the book as a complete whole, in which 
type, decoration, design, illustration, paper, margin, ink, presswork 
and binding are all essential factors of the one art. There 1s such 
hearty assent to this principle, that in Germany the unity of the arts 
of the book may be called the leading article of faith. 

Aside from this, Germany’s leading typographic issue remains 
what it has always been in modern times—the struggle between the 


[45] 


Germanic face and the Roman. Although the superior legibility of 
Roman is not seriously denied, and though its utility for interna- 
tional printing is obvious, the sentiment behind the Germanic 1s so 
powerful that there is no probability, perhaps no possibility, of any 
early sweeping change. The logic of events would seem to point to 
the final ascendancy (if only on grounds of practical utility) of the 
Roman face; but the logic of events is slow, and for many years 
Germany will remain a land of dual typography, with those Ger- 
manic styles developed from the original Gothic and known as 
Fraktur and Schwabacher in leading place. 

When we turn from these fundamental matters to daily practise, 
we find in Germany,as in all other countries, an encouraging amount 
of distinguished work, and much work that should not be doneatall. 
Such establishments as the Stempel type-foundry (Schriftgiesserei 
D. Stempel) of Frankfort command admiration. The Stempel inst- 
tution is one of the most important type-foundries in continental 
Europe. More impressive than its magnitude 1s the thoroughness of 
its work and the many accomplished men who serve it with real un- 
derstanding of typography and printing. 

A member of this organization, Gustav Mon, has devoted him- 
self to research into type-design and type-founding, and 1s one of the 
first authorities on the history of German printing. A large amount 
of current American knowledge about early European types and 
printing has been drawn from his writings. In 1924-1925 he com- 
piled a work extraordinarily complete on the history of the German 
type-founding trade. The first volume, issued in 1924, recorded the 
entire development of type-founding in South Germany. The sec- 
ond, issued in 1925, narrates the history of type-founding in and 





Our customary term “Gothic” for these medieval European type forms is doubly undesirable. 
In the first place, the term does not accurately relate to either their history or their form. In this 
respect, the general European practise of referring to them as “medieval” while the Roman 
type are called “‘antiqua,” is far more desirable. In the second place, the term is confusing to 
American printers because there is a trade-term ‘‘Gothic” which is applied to a Roman face of 
special design. This application of the name is an example of many trade-terms which are inven- 
ted without authority or reason, and become sources of permanent confusion and inaccuracy in 


their industries. 
[46] 


around Frankfort (Frankfurt-am-Main) where so great a part was 
played in the development of the art. He has a wealth of material, 
and knowledge that is encyclopaedic. His data, partly of his own 
collection, and partly loaned to him, include very rare and most 
beautiful specimen sheets that are almost beyond price. One that I 
examined 1s the sheet which Konrad Berner, a successor of Christian 
Egenolff, issued in 1592. It shows the original Garamond cut in 
about 1540, the punches of which later were acquired by Christian 
Egenolff himself or his heirs and successors (a type-founding line 
which later became the Lutheran family foundry). Inmy sudgment, 
these Roman characters have never been surpassed. 

The Stempel institution, besides producing its own types, makes 
the German linotype matrices for Mergenthaler Setzmaschinen- 
Fabrik of Berlin. 

Another eminent type-foundry 1s the Klingspor Schriftgiesseret 
in Offenbach a. M.,whosetypesareofhigh order. TheNarciss, which 
I mention as being used in Great Britain, is their production, and it 
enjoys considerable popularity among the best printers in France as 
well as elsewhere on the Continent. Itisa good type—free from fads. 
They have several other good types, of certain Germanesque charm 
and merit, which stamp them as possessing taste of an unusual order 
among German founders. ‘Their specimen sheets are excellent, re- 
flecting taste in printing that is of the true German variety. Though 
few of these types could find a place in American printing, they are 
strongly individualistic in character and worth study. 

With Mr. Stempel, Dr. Wolf, Gustav Mor and Dr. Ruppel I 


visited Mainz to inspect the Gutenberg Museum and to consider its 





The Konrad Berner specimen sheet has been reproduced in facsimile by the Stempel estab- 
lishment, and thus is available for study by the printers of all the world. 





Since its foundation the research supported by the Gutenberg Museum has produced a series 
of highly valuable papers dealing with the earliest Donatus and Bible types and with the other 
types used by various printers of the incunabula period. Among these are extremely complete 
analytical descriptions of the Catholicon and of the Bamberg books printed by Pfister. ‘The beau- 
tiful Missals printed by Fust and Schéffer and by Schoffer are the subject of a particularly 
interesting report illustrated with excellent facsimiles. These publications, issued through the 
Gutenberg-Gesellschaft, are furnished to the members of that society throughout the world. 


[47] 


future development. Founded under inspiration of the fifth Guten- 
berg centenary, it was conceived as an international memorial which 
should serve printing all over the world. The famous University 
Library contributed its treasures. The city of Mainz volunteered 
assistance. German printers anticipated no difficulty in making the 
institution all that they had dreamed; but in the last difficult years it 
has been possible only by many personal sacrifices to support it at all. 
I found that despite the crisis through which it has had to pass, it has 
been maintained, and that its directors have not lost their inspiration 
for making it a symbol for unity of the printing profession. Indeed, 
they feel that such an effort is worth more now than ever before, and 
it is a pleasure to record that, as this book 1s preparing for press, a 
movement has begun in the United States to aid in realizing the 
vision. lam one of those who believe that the arts and sciences are by 
their nature and by their understanding fitted to be the real leaders 
in world peace, and of these the art of printing could exert a power 
ereater than that of statesmen and governments. 


TYPOGRAPHY IN HOLLAND 


The types that are most used for contemporaneous printing in 
Holland area Medieval face (“CMediaeval” being one of the styles of 
the Germanic or Gothic face) and various Antiqua faces, by which 
name the Roman is known in the non-Latin countries of the 
Continent. Cheltenham is one of these latter, and appears to enjoy 
as large a sale among Dutch printers as in the English-speaking and 
Latin countries which I have already mentioned. 

To every printer who visits Europe I recommend a visit to the 
Museum Enschedé in Haarlem. It contains a great deal of typo- 
graphic interest and importance to the historical and educational side 
of theart, arranged more directly for practical study by printers than 
in many of the great public museums; and it has an advantage in 
being directed by men who are not only interested in the historical 
and literary side but who are typographical experts and practical 
type-founders with a long family record in the art. 


[48 ] 


The present Enschedés are direct descendants of the original 
Enschedés who established the firm—“ Joh. Enschedé en Zonen”— 
in 1703. Asillustrating what the museum offers, I mention only one 
feature shown to me by Mr. B. F. Enschedé, which I viewed with 
amazement. It was a showing of the development of typography in 
Holland, exhibiting every type-face of importance from the fifteenth 
century to the present day, all reprinted with new type cast from the 
original matrices which the Enschedé firm owns. 

In Amsterdam 1s another typographic museum of great interest, 
owned by the Lettergieteriy Amsterdam, Voorheen N. Tetterode, 
and in charge of a well-known type-designer, S. H. de Roos. It 1s 
a gem of interior decoration—a really worthy creation. Lovely re- 
strained woodwork, quiet tapestry wall covering, and rugs of special 
design make it a place of charm and distinction. 

‘The museum contains several thousand volumes, and since these 
are selected in conformance to exceptionally exacting standards, it 
was gratifying to find several American commercial printers repre- 
sented. Linotype users will be interested to know that among the 


exhibited works 1s The Manual of Linoty pe Typography. 


ANTWERP’S MONUMENT TO PRINTING 


Belgium may well be proud of her Plantin Museum, or rather 
Plantin-Moretus Museum, the greatestmonumentinthe world tothe 
printing art. Dr. Maurice Sabbe, its director, 1s a fine scholar, loving 
the treasures that are in his keeping and sparing no labor in his zeal 
to record anything that relates to printing history. Being a historian 
anda student of literature and philosophy, it is natural that his work 
directs itself largely toward Christopher Plantin as poet, editor, 
philosopher and literary scholar, rather than to the technique of 
printing. T’o this tendency I ascribe the fact that the publications of 





The Plantin Press founded by Christopher Plantin of Tours and continued under his son-in- 
law Jean Moeretorf (Latinized to Moretus) remained in existence for 312 years, and at the end 
of that period still was in possession of the Moretus family. It ceased work in 1867 and in 1876 
Edouard Moretus deeded the establishment, then known as Hotel Plantin-Moretus, to the city 
of Antwerp as a typographical museum and monument. 


[49] 


the Plantin Museum today are issued primarily for their historical 
content rather than as typographical examples. The stress 1s laid on 
text. Asa printer and a typographer I felt this rather acutely. ‘This 
monument, with its accumulation of fine incunabula and beautiful 
prints and types, should be not only a monument but a fountain—a 
fountain from which might flow examples of printing to inspire usall. 

An eminent establishment, the Buschmann printing house, has 
served as the official printer of the Plantin Museum since 1880. 
Founded in 184.2 by Joseph-Ernest Buschmann, a man of profound 
learning, it gave powerful support to the new Belgian literature of 
that period, introducing it to the public by means of popular editions 
illustrated with woodcuts. Managed after his death by his widow 
and then by his sons Paul and Gustave, it passed entirely into the 
latter’s management in 1911 when Paul died. The efforts of Gustave 
and his two sons, who have entered the business as co-managers with 
him, are directed to printing rather than to publishing. Interesting 
work has been done in reviving sixteenth century typography side 
by side with productions that exhibit ultra-modern tendencies. 

The general tendency of Belgian printing has been indicated in 
previous remarks on French influence. French style is practically 
native to Belgium, and the French movement toward refined classic 
faces 1s reflected there—a satisfactory point to note. In linotype faces, 
Cheltenham, Century, Caslon, Bodoni, Benedictine Book and EI- 
zevir are the designs that lead in popularity. 

It was my privilege to meet M. Jean Dumont, Founderand Honor- 
ary Director of the School of Typography at Brussels. M. Dumont, 
who 1s 78 years old, 1s the proprietor of a historic Belgian type- 
foundry, organized in 1816 under the name of the Fonderie de 
Delemer Fréres. In 1835 it became the Fonderie M. J. Vanderborght, 
and produced, among other faces, a series of Elzevir. M. Dumont 
joined the organization as an apprentice boy and in 1gor it assumed 
the firm name A. Vanderborght and Dumont. He told me that the 
two punch-cutters employed by his establishment are the only ones 
working today at this craft in all Belgium. 


[50] 


In Belgrum and Holland it is, of course, almost an article of faith 
that the invention of printing with movable metal types is to be as- 
cribed not to Johannes Gutenberg but to Lourens Janszoon Koster 
(or Coster as usually spelled by us). Much of the evidence adduced 
is the result of astounding research and offers interesting examples 
of deductive reasoning. Probably the discussion will continue with- 
out end; for it seems unlikely that the great labors of the advocates of 
Gutenberg and Koster have left undiscovered any document with a 
date that might settle the question beyond dispute. The printing 
world may welcome every addition to the debate. Even if it be fruit- 
less as to the specific subject, it is giving us a continual increase of 
knowledge about early printing—and that means an increasing per- 
ception of those great standards of book art which never become 
“old,” and which will guide the printer of today as the beautiful 
manuscript book guided the men who first printed with type. 


THE EUROPEAN BOOK TODAY 


I doubt if many American printers and publishers are aware that 
a deeply interesting period of book art is in being in Europe. On the 
whole Continent there is a stir of fresh, vigorous life, akin to the 
running of sap in spring. If it were confined to the young Central 
European nationalities it might be explained and dismissed as a re- 
sult of newly born consciousness; but it is in evidence everywhere. 

Without decided direction as yet, it is alike in the different coun- 
tries chiefly in passion for new achievement. It is marked by bold- 
ness and dash admirable despite many errors. ‘The production is not 
always pleasing; but even when it 1s wholly displeasing, as much 
of it is, the mistakes and the violences are less mistakes of ignorance 
than ofa spirit impatient, which in seeking a farther heaven is youth- 
fully improvident of the glories of the old. 

A tangible, material sign of it is the fact that continental pub- 
lishers are no longer limiting themselves to the cheap books which 
existing economic conditions would still seem to prescribe. Low- 
price books continue to issue in large numbers, and they are well 


[52] 


worth American study because the best ones show what results good 
design and intelligent art can get out of cheap paper, cheap binding 
and cheap manufacture generally. Side by side with them, however, 
isa growing production of books that would seem expensive even to 
our prosperous buyers of limited editions. 

The support for these in England and Germany comes from a 
public that has been educated to appreciate the work of the private 
and semi-private presses, and is willing to pay enough for a book to 
makea small edition profitable. In Germany the private presses have 
national prestige. In my last visit to Leipzig, the great city of books, 
I had opportunity for a reasonably complete survey of their work. 
Their number and significance may be gauged by the fact that the 
specimens of some eighteen presented themselves as being of un- 
usual merit. Their books embodied a great variety of modern print- 
ing, all of very high order, ranging widely in utilization of processes 
and notable for creativeness in illustration. 

Nowhere, abroad or at home, have I been so deeply impressed 
witha sense of co-operation and co-ordination of high aim and effort 
as inthis city, where the student cansee practically the whole German 
book production assembled. ‘There, where according to local statis- 
tics, 13,000 German and foreign book firmsare represented byagen- 
cies oragents, and where oneinevery fifty of the 600,000 inhabitants 
1s said to be connected directly or indirectly with the book trade, the 
movement that is going on in Germany for the uplift of printing 1s 
exemplified by books in astonishing number, covering every subject 
and ranging through all manner of production from editions deluxe, 
limited to a few hundred copies, to books printed in large editions 
at prices held down to a few marks and in cases not exceeding a few 
ptennigs. I have expressed my opinion about the unrestrained out- 
put of new type-designs in Germany. Every renewed tour of study 
has confirmed that criticism; but every such tour also has increased 
my respect for what is being done for printing as a whole by the 
remarkable unity of effort among all the German arts and profes- 
sions that touch itt. 


[52] 


Nowhere have I found all the book interests—authors, artists, 
technical periodicals, publishers, printers, library authorities and pro- 
ducers of material—so united in intelligent understanding of what 
is to be accomplished. Iam far from intimating that the arts have 
bowed in sanctified peace to one meekly accepted dogma. German 
technical discussion is robustly polemical and disputation is so vigor- 
ous that the superficial observer might imagine that the graphic arts 
were at war about almost every detail of technique. But there is an 
agreement upon fundamental principles; and this is so nearly uni- 
versal that even the sharp, sometimes bitter, conflict between the 
ultra-conservative and ultra-modern groups retains points of contact 
and definite understanding. 

This basic consistency givesa public power to the German book- 
producing professions which I have seen nowhere else. I have noted 
something like it in France, but not nearly in the same measure. We 
of the United States are far behind, and the same is true of our 
colleagues in Great Britain. Where we depend for our support, ma- 
terial and moral, on the comparatively small group of cultivated 
readers and bibliophiles, the German professional workers have suc- 
ceeded in making the graphic arts interesting to the whole public. 
Their “common people” are proud of the national art of the book, 
and not merely asa matter of national pride. I would not imply that 
German masses haveattaineda higher critical faculty than the people 
of other countries; but through all levels of society except the lowest 
there 1s thorough respect for books as vital factors in civilized human 
existence. This respect for books has inspired an intelligent respect 
for the arts that produce the book. Therefore, the German publisher 
is encouraged by the definite knowledge of support. He can count 
on a public for the expensive book, and on a public for the good 
cheap book; and while the latter public does not demand rich mate- 
rials nor the finer niceties, it does recognize an art that trrumphs with 
crude materials. 

In this development of art in the cheap book the private presses 
have done invaluable work. The great ones recognized from the 


[53] 


beginning that rich materials are only additional beauties, and can 
never serve as substitutes for the fundamental beauty which can be 
attained only by correct design and good technical execution. Asa 
result, many of the fine limited editions have been popularized by 
regular publishers who have reproduced them for a larger public 
by modifications conforming to cheaper paper and to the mass- 
production necessary to make low price possible. Some of these 
feats are really brilliant demonstrations of what the art of the book 
can accomplish; and the successes have led to a most useful and in- 
spiring accord among private and public presses. 

English and German books, unlike as they are in detail, are alike, 
as already said, in being constructed on the same fundamental prin- 
ciple of book art—the principle that considers the book as a unity. 
Although this principle, largely owing to the brilliant productions 
of Pelletan, has been fully recognized in France also, the French 
book, in accord with the national tradition and genius, 1sstill thought 
of, consciously or unconsciously, as a vehicle for illustration and de- 
signed decoration—an attitude natural to a nation witha long line of 
great etchers, wood-engravers, lithographers and other artists who 
have made the French illustrated book famous. 

In today’s French book the dominant feature is the woodcut; and 
the dominant style represents an almost literal return to the simple, 
easily printable wood-block of the earliest illustrated books. Artists 
and wood-engravers whose fame has been won by styles entirely dif- 
ferent, are striving just now for the naive, primitive conception. 
Minimum of detail, dependence on a few masses to produce the 
picture, a line rough, unsweetened, an abandonment of many un- 
deniable aesthetic values, produce results that quite frequently have 
undeniable power, even when disconcertingly crude. 

The tendency 1s not limited to France, of course. It has won 
support, talented and non-talented, in the United States, and it is 
strong throughout Europe. French-speaking Switzerland, Italy, the 
Slavs, Czechs and Bohemians, have adopted it almost in toto, and 
the woodcut (or process plates imitating it) may be called a craze on 


[54] 


the Continent. The small nationalities, in particular, are using it as 
the vehicle fora characteristic art. But France, with its distinguished 
artists who have kept wood-engraving alive, is the leader. 

These rugged, simple wood-blocks lend themselves easily to color 
and color is another prominent feature of the modern French book, 
nor 1s it limited to expensive works. Ina surprisingly large number 
of cases it is applied by hand, usually through the stencil method. 
There is enough of the work to support several studios in Paris which 
have taken it up as a trade, thus representing in a way a revival of 
the ancient trade of the lesser illuminators. A recent very expensive 
book shows the refinement of the method. Some of its full-page 
plates are printed entirely in color, and others are in color that 1s 
partly printed and partly applied by hand, achieving a beautiful re- 
sult. Under French economic conditions, hand-coloring generally 
is cheaper than color-printing for low-price books when the edition 
issmall. Inexpensive books, the hand-coloring, when done by com- 
petent artists, is esteemed by French book buyers. 

In Germany the slashing use of black and white masses for 
building up a pictorial or decorative design is quite dominant in 
advertising art. Its influence in the art of the book is powerful, 
but neither in Germany nor England has this ultra-modern man- 
ner displaced the other accustomed forms of illustration. Book art 
in both countries draws on all forms, and the charm of the old-style 
drawing with graceful line and detail (whatever the medium may be) 
continues to demonstrate its vitality and enduring beauty side by 
side with the books illustrated in the newer style. 

Asmay beinferred from my earlier reference to the new types that 
are incessantly produced in Germany, the German book is eminently 
typographical in conception, being constructed on the principle fol- 
lowed by us that, as type is the chief part of any book, it must neces- 
sarily be the dominating factor in the design. Hence even when a 
German book is decorated lavishly with specially designed orna- 
ment, the competent designer seeks to make drawings of typo- 
graphical character. The type-founders have given such intelligent 


[55] 


attention to typographical ornament that while there is much good 
book illustration, the German book-designer tends to look to deco- 
ration as ranking with illustration for his effects. In looking over 
recent German books, I could see a decided leaning by illustrators to 
give their illustrations some character that would make them deco- 
rative ofthe book. Without pressing the thought too far, this would 
be appropriately in the line of traditional German art, for the ancient 
German artists and engravers who were inspired by Diirerand W ohl- 
gemuth, knew how to make illustration both illustrative and decora- 
tive in an eminent degree. 

The highest uniform level of typographic treatment, decoration 
and illustration is, I think, exemplified in the fine English book as 
produced by the privateand semi-privatepresses. Theirdevelopment 
of the book has been singularly steady in thought and execution. 
Abandoning the Morris cult of the medieval (which was chiefly his 
own personal passion), they have otherwisemoved undisturbed inthe 
direction initiated by the Kelmscott Press. Some of the examples pro- 
duced in recent years have equalled, though not exceeded, the Kelm- 
scott achievements. Illustrated or non-illustrated, ornamented or 
plain, the fine English book hasarich tranquillity thatis characteristic. 





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A CHRONOLOGY OF PRINTING 








A CHRONOLOGY 
OF 


PRINTING 


PREPARED AS AN AID TO TYPOGRAPHIC 
RESEARCH AND STUDY 
BY 
JULIUS W. MULLER 


P+ SS 








PREFACE 


HIS chronology is the expansion of a private one made for convenience 

in work which demanded quick reference to extremely miscellaneous data 

ranging through all periods of the printed book. Its principle is that of a 
chronology of Italian painters and sculptors and of the Medici Family made by 
Edward E. Bartlett for his own use, and esteemed by the present compiler because it 
so well meets the requirements of an interest that is professional without being spe- 
cialized. The effort in the “Chronology of Printing” has been similar—to avoid 
specialization, and to bring together data for the man whose interest is general. For 
specialized needs, the typographic student, the collector of rare editions, the book 
illustrator each would desire a chronology essentially different from that which 
might serve any other group. It is hoped that the one here presented will, within its 
own limits and in its own field, be broadly useful. 
The desire has been to give a reasonably full picture of the centuries without making 
it so bulky as to defeat its chief purpose of convenience. Necessarily, the selection 
of data was largely a matter of personal judgment. Books have been omitted when 
they might well have been included, and vice versa. 
The library of the British Museum contains about gooo books printed before 1500, 
and this accumulation represents only a part of fifteenth century production. In its 
prospectus (1925) of the contemplated Gesamtkatalog der Wiegendrucke, the Ger- 
man commission for the complete catalogue of the incunabula says that 37,639 of 
4.0,000 known different prints have been studied and listed, and that the catalogue, 
to consist of twelve volumes in folio, will require about twelve years for completion. 
Production in succeeding centuries naturally was still larger. To assume the pre- 
rogative of selecting a few hundred examples from such an enormous mass would 
be unpardonable if done for any purpose other than the one here stated. 
Colleagues in England, France and Germany have been generous in reading proof 
and in contributing their knowledge in those cases where the records are doubtful 
or where authorities do not agree. The printing art has preserved other histories 
better than its own. Early books lack title-page, name of printer, place and date of 
printing. Censorships and other prohibitions often led timid printers to falsification 
of imprints. In addition, even the best printers spelled and misspelled their own 
names with fine freedom, and for good measure Latinized them in manner that testi- 
fies to love for punning rather than to loving regard for posterity. When we deal with 
books made before the era of title-pages, the mere task of stating an exact title is any- 
thing but simple. Aside from archaic language forms, there is confused phraseology 


[6r] 


with capricious orthography and strange grammar. In the lesser books, detective 
types add to the obscurity. Asa result there are many versions of the titles of early 
works. Special effort has been made in these cases to study the original pages or 
their replicas in the light of the various interpretations. Where literal renderings are 
given, the original imprint is followed, regardless of misspellings or other errors. 
No effort has been made to bring the divers and sometimes astonishing usages of the 
old printers into accordance with our own editorial style; nor has uniformity of 
style been permitted anywhere to control where ease of reference or of reading could 
be served by departing from it. 


Acknowledgments for co-operation are due to 


GEORGE W. JONES—LONDON 

A. FORBES JOHNSON—BRITISH MUSEUM 

D. STEMPEL— FRANKFORT 

GUSTAV MORI—FRANKFORT 

DR. RUDOLF WOLF—FRANKFORT 

DEBERNY AND PEIGNOT— PARIS 

GEORGES DEGAAST, EDITOR, PAPYRUS— PARIS 


COMMENDATORE PASQUALE SCOTTI—VATICAN 
PRINTING OFFICE, ROME 


MONSIGNORE COUNT STANISLAO LE GRELLE, 
SCRITTORE ONERARIO—VATICAN LIBRARY, 
ROME 


RAFFAELLO BERTIERI, IL RISORGIMENTO 
GRAFICO— MILAN 


B. F. ENSCHEDE— HAARLEM 


DR. MAURICE SABBE—PLANTIN MUSEUM, 
ANTWERP 


JEAN DUMONT SCHOOL OF TYPOGRAPHY, 
BRUSSELS 


D. BERKELEY UPDIKE— BOSTON 
THOMAS M. CLELAND—NEW YORK 
RUTH S. GRANNISS—GROLIER CLUB 
JULIAN STREET, PRINCETON 


DAVID SILVE—NEW YORK 


Among works consulted are: 


A CENSUS OF CAXTONS—DE RICCI 
GEOFROY TORY—BERNARD 

THE VENETIAN PRINTING PRESS—BROWN 
GREEK AND LATIN CLASSICS—DIBDIN 


EINE FRANKFURTER SCHRIFTPROBE VOM 
JAHR 1592—MORI 


THE ART OF THE BOOK—HOLME 
PLANTIN-MORETUS— HENSEL 
PRINTING TYPES—UPDIKE 


THE EARLY PARISIAN GREEK PRESS— 
GRESWELL 


NOTES ON A CENTURY OF TYPOGRAPHY AT 
THE UNIVERSITY PRESS, OXFORD— HART 


JOHN BASKERVILLE—BENTON 

DAS LOB DER DRUCKKUNST—STEM PEL 
LIBRARY COMPANION—DIBDIN 

TWO CENTURIES OF TYPE-FOUNDING—JONES 


A GUIDE TO AN EXHIBITION OF THE ARTS OF 
THE BOOK—IVINS (METROPOLITAN 
MUSEUM OF ART) 


DRUCKWERKE UND EINBLATTDRUCKEDESI5. 
BIS20. JAHRHUNDERT—-STADTBIBLIOTHEK 
FRANKFURT-AM-MAIN 


LA LETTRE D’IMPRIMERIE—THIBAUDEAU 
LES DECORATEURS DU LIVRE—SAUNIER 


FOUR CENTURIES OF FINE PRINTING— 
MORISON 


[ 62 | 


EARLY TYPOGRAPHY—SKEEN 


ILLUSTRATED BOOKS OF THE PAST FOUR 
CENTURIES—WEITENKAMPF 


NOTABLE PRINTERS OF ITALY DURING THE 
15TH CENTURY-—DE VINNE 


THE LETTER OF COLUMBUS—NEW YORK 
PUBLIC LIBRARY 


SURVIVALS IN THE FINE ART OF PRINTING— 
PRINCETON UNIVERSITY PRESS 


BENJAMIN FRANKLIN, PRINTER—OSWALD 


THE ART & PRACTICE OF TYPOGRAPHY— 
GRESS 


A BIBLIOGRAPHY OF PRINTING—BIGMORE 
AND WYMAN 


GIAMBATTISTA BODONI—CLELAND 


VEROFFENTLICHUNGEN DER GESELLSCHAFT 
FUR TYPENKUNDE 


DEPOSITIO CORNUTI TYPOGRAPHICI 
BEITRAGE ZUR INKUNABULAKUNDE 

THE CAMBRIDGE PRESS—RODEN 

HISTORY OF PRINTING IN AMERICA—THOMAS 
BOOK AUCTIONS IN ENGLAND—LAWLER 


DAS SCHRIFTGIESSERGEWERBE IN SUD- 
DEUTSCHLAND—MORI 


EARLY PRINTED BOOKS—DUFF 

THE INVENTION OF PRINTING—DE VINNE 
MECHANICK EXERCISES~MOXON 

ARCHIV FUR BUCHDRUCKERKUNST 
AUTOBIOGRAPHY OF BENJAMIN FRANKLIN 


NOTE BY WILLIAM MORRIS ON HIS AIMS IN 
FOUNDING THE KELMSCOTT PRESS 


AN EXHIBITION OF AMERICAN PRINTING— 
AMERICAN INSTITUTE OF GRAPHIC ARTS 


THE PRINTED BOOK BEFORE THE NINE- 
TEENTH CENTURY—SILVE 


AN HISTORICAL SKETCH OF THE STEPHEN 
DAYE PRESS—UNIVERSITY PRESS 


A NOBLE FRAGMENT—NEWTON 


THE MANUAL OF LINOTYPE TYPOGRAPHY— 
ORCUTT AND BARTLETT 


TYPE DESIGN IN GERMANY SINCE 1900 
(MANUSCRIPT )—DR. RUDOLF WOLF 


WAS HAT GUTENBERG ERFUNDEN? —MORI 


FONDERIES DE CARACTERES ET LEUR 
MATERIEL (XV AU XIX SIECLE )—ENSCHEDE 


LE SENTIMENT ARTISTIQUE DANS LA DECORA- 
TION DU LIVRE MODERNE—ROCHER 


EDOUARD PELLETAN—PIERRE GUSMAN 


FUHRER DER DEUTSCHEN BUCHKUNST— 
BUCHGEWERBEVEREIN 


THE NEW BOOK-ILLUSTRATION IN FRANCE— 
PICHON 


DIE DEUTSCHEN BUCHDRUCKER DES XV 
JAHRHUNDERTS IM AUSLANDE—HAEBLER 


DIE DEUTSCHEN DRUCKER DES FUNF- 
ZEHNTEN JAHRHUNDERTS—VOULLIEME 


TYPENREPERTORIUM DER WIEGENDRUCKE— 
HAEBLER 


LIST OF PUBLICATIONS AND EXHIBITION 
CATALOGUES—GROLIER CLUB 


OF THE DECORATIVE ILLUSTRATION OF 
BOOKS— CRANE 


DAS ALTE BUCH—SCHOTTENLOHER 


DIE ENTSTEHUNG DER FRAKTURSCHRIFT— 
KAUTZSCH 


TYPOGRAPHICAL GAZETTEER—COTTON 


VEROFFENTLICHUNGEN DER GUTENBERG— 
GESELLSCHAFT 


DAS MODERNE BUCH—VOLKMANN 
THE BINDING OF BOOKS—HORNE 
MARKSTEINE—BAENSCH-DRUGULIN 
EARLY ILLUSTRATED BOOKS— POLLARD 


CHRONIK DER DEUTSCHEN SCHRIFTGIES- 
SEREIEN—BAUER 


BOOK-PLATES— HARDY 
THE GREAT BOOK-COLLECTORS—ELTON 


TASCHENBUCH FUR BUCHERFREUNDE— 
SCHRAMM 


WHO WAS SCOTLAND’S FIRST PRINTER? — 
DICKSON 


DIE KUNST UNSERER HEIMATH—WINDISCH 


[ 63 | 


ON THE PSYCHOLOGY OF WRITING—KUHL 


DAS REGENSBURGER BUCHGEWERBE 15. UND 
16. JAHRHUNDERT—SCHOTTENLOHER 


AN INDEX TO THE EARLY PRINTED BOOKS IN 
THE BRITISH MUSEUM—PROCTOR 


BIBLIOGRAFIA IBERICA DEL SIGLO XVv— 
HAEBLER 


BUCHHANDLERANZEIGEN DES 15. JAHR- 
HUNDERTS— BURGER 


CATALOGUE OF MANUSCRIPTS AND EARLY 
PRINTED BOOKS (MORGAN LIBRARY)— 
POLLARD 


DIE BAMBERGISCHE PFISTER DRUCKE— 
ZEDLER 


PRINTING TYPES (SPECIMEN )—FRY AND 
STEELE 


PRINTING IN THE NINETEENTH CENTURY— 
DE VINNE 


A DISSERTATION UPON ENGLISH TYPO- 
GRAPHICAL FOUNDERS AND FOUNDERIES— 
MORES 


HISTOIRE DU LIVRE ET DE L?IMPRIMERIE EN 
BELGIQUE—LIEBRECHT AND VINCENT 


BIBLIOGRAPHY OF EIGHTEENTH CENTURY 
ART AND ILLUSTRATED BOOKS—LEWINE 


DIE LITURGISCHEN DRUCKWERKE ERHARD 
RATDOLTS—SCHOTTENLOHER 


CHRONOLOGIE DES ARTS GRAPHIQUES— 
BILLOUX 


BIBLIOGRAFIA MEXICANA DEL SIGLO XVI— 
ICAZBALCETA 


LA IMPRENTA EN MEXICO—MEDINA 


CATALOGUE OF BOOKS PRINTED IN THE 
XVTH CENTURY-—BRITISH MUSEUM 


CATALOGUE OF EARLY FRENCH BOOKS 
(MURRAY LIBRARY )—DAVIES 


CATALOGUE OF EARLY GERMAN BOOKS 
(MURRAY LIBRARY )—DAVIES 


A SHORT HISTORY OF ENGLISH PRINTING— 
PLOMER 


DIE DONAT UND KALENDAR TYPEN— 
SCHWENCKE 





[ 64 | 


A CHRONOLOGY OF PRINTING 


GIVING THE PRINCIPAL DATES AND PERSONAGES 
IN PRINTING HISTORY 
PREPARED AS AN AID TO TYPOGRAPHIC 
“RESEARCH AND STUDY 





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A CHRONOLOGY OF PRINTING 


XV CENTURY 


INVENTION OF PRINTING—PERIOD OF THE INCUNABULA 


1440-1446 Era ascribed to Lourens Janszoon Koster (Coster), Haarlem, Nether- 
circa lands, as inventor of printing with movable types. No existing 
examples, except various conjectural specimens of roughly printed 
Donatus fragments without name, place or date, which some claim 
belong really to a period 1471-1474. Aelius Donatus, a grammarian 
of about fourth century A.D., author of textbooks which were re- 
produced in manuscript, block-book and type form till well after 
fifteenth century. 


1440 CoLocne CHRonIcLe, printed in Cologne, 1499, gives date of inven- 
tion of printing with movable types as 1440, ascribes it to “Junker 
Johann Gutenberg,” and says that in 14.50 the first book was printed — 
the Bible in Latin. 


1444-1447 A single paper sheet printed on both sides. Artless verses in a German 
as used by the common people, warning sinners of the Day of Judg- 
ment. Discovered in Mainz and given to the Gutenberg Museum 
where it was identified as a chapter of a book of prophecy current in 
the preceding century in various manuscript versions known as Sibyl- 
line Books. Approximate date fixed by elaborate comparisons with 
other existing early types. The type, a large Gothic, shows approach 
to the later types of the 1447 Calendar. Ascription to Johannes Guten- 
berg (Johannes Gensfleisch) conjectural, though supported by a great 
amount of deductive reasoning based on immensely detailed minute 


research. 


1447 Fragment of Calendar in German. Large Gothic type printed on 
sheet more than 20 inches deep. Astronomical calculations show that 
it was for 1448, hence presumably printed in 1447. Discovered in 
1gor by Dr. Zedler of the State Library in Wiesbaden, as part of 
binding of a fifteenth century manuscript. Ascribed by him, on basis 


[ 67 | 


1454 


1456 


1456 


1456 


1456 


of complex and elaborate measurements and type comparisons, to 
Gutenberg. 

First dated printing known. Letter of Indulgence by Pope Nicholas V 
for contributors to Crete’s war against the Turks. One of the earliest 
known prints in the German language. Initials written in with red 
ink. Text emphasized in places by being underlined in red. Two 
editions, one 30 line, the other 31 line, in different types, both pos- 
sibly cut for Gutenberg by Peter Schoffer. One edition dated 1455. 


Gutenberg Bible. No date or printer’s name. Only established date is 
in Cardinal Mazarin copy (Bibliothéque Nationale, Paris). Evidence 
indicates that printing required at least five years. 2 volumes, folio, 
641 unnumbered leaves. Volume I, 324 leaves; Volume II, 317 leaves. 
Two columns, 42 lines each, to page. Some pages in early copies 
contain only 40 and 41 lines. Latin. Type, beautifully legible Gothic 
closely following best ecclesiastical book-hand in manuscript books. 
Headlines, accents and illuminated initials supplied by hand. Copies 
exist both on vellum and paper. In rg11 Mr. Huntington purchased 
the Hoe copy for $50,000 “the highest price ever paid for a book.” 
This copy is vellum. Therecord fora paper copy is 9500 pounds paid 
by Dr. Rosenbach, the American book buyer, at the sale of the Earl of 
Carysfort’s library, in London, July 2, 1923. The New York Public 
Library copy (first copy to come to this country) was purchased in 
1847 by Henry Stevens in London for James Lenox for 500 pounds, 
“considered an outrageous price.” Dibdin in 1823 says, “a fair copy 
may be worth 150 guineas but has recently been pushed 30 guineas 
beyond.” A fine copy bought in that period by Duke of Sussex 
for 160 guineas. Another (owned by Sir M. M. Sykes) brought 189 


pounds. 


Rubricator’s inscription in Mazarin copy of Gutenberg Bible, as trans- 
lated by Dibdin: “Illuminated, bound and perfected by Henry Cremer, 
Vicar of the Collegiate Church of St. Stephen of Mentz, in the year 
1456, on the Feast of the Assumption of the glorious Virgin Mary.” 
The Mainz record of this vicar is “Heinrich Albech, named Cremer.” 


German translation of Buti promulgated by Pope Calixtus III, June 
20, 1456. Ascribed to Gutenberg. 


Fragment of Calendar in Latin. Large Gothic type. Identified by 
astronomical calculationsas being for 14.57, hence presumably printed 
in 1456. Discovered as part of binding of old business records in 


[ 68 ] 


sea ey 


1457-1458 


1458 


1459 


Mainz, and now preserved in Bibliothéque Nationale, Paris. Names 
best days for administering medicines and therefore is known as 
LAXIERKALENDAR. Variously credited, on basis of type comparisons, 
to Gutenberg, Schéffer, Pfister, and the unknown printer of the 36- 
line Bre or BAMBERG. (See 1457-1458.) 


First book printed in colors. First printed book with printer’s name, 
date and place. Johann Fust and Peter Schéffer, Mainz, print the 
great folio PsaLTERIuM, one of the splendid liturgical books of all time. 
Once considered a more valuable collector’s item than the Gutenberg 
Bistz. Type, large Missal Gothic, masterfully used. Famous typo- 
graphically for magnificent initial letter B printed in blue on red 
ornamental background 3 % inches square at head of first page, tracery 
of ornament in red running along entire left hand type margin. About 
280 smaller initials scattered through text and printed red or blue. 
Extraordinary for perfect registry, which has caused much conjecture 
as to method of printing. Vellum copy in Hof-und-Landesbiblio- 
thek, Darmstadt, has the great B initial printed in red on blue orna- 
ment, thus differing from the examples in the Morgan Library and the 
British Museum, which have served as the basis for most reproductions 
and descriptions. 


Unknown printer, Bamberg, Germany, prints 36-line Bratz in Latin 
with large Gothic type closely resembling the 1448 and 1457 Calen- 
dar types which are also known as Donatus types because of fragments 
of Donatus leaves ascribed to this period. This Bible is not dated, but 
date is fixed by documentary evidence. A well-printed book. 


Fust and Schéffer, Mainz, print Canon Missatg, a great liturgical folio 
in the manner of the PsaLTErium, in two sizes of the large Gothic 
Missal types used in that work. Only example known is in Bodleian 
Library, Oxford, England. Twelve vellum leaves bound in white 
vellum. A great initial T printed red on blue ornamental ground in 
style of the B in the Psatrerium and equal to it in beauty. Many other 
large and small initials in red on blue, with text lines in red. Text in 
black fully equal to Psarreritum. Colored initials slightly inferior in 
places, not being so perfectly justified. No colophon, but date fixed 
by comparison with the 1457 Psatrerium and the 14.59 reprint. 


Fust and Schéffer, Mainz, reprint Psarter1um. Not quite so perfect 
as first edition. Their success in printing colors had no influence on 
other printers who continued to leave such embellishment to the 


[ 69] 


1459 


1460 


1460 


1460 


1461 


1461 


1462 


illuminators. This is the second known book with printer’s name, 
date and place. 

Completion of presswork on Durantus, RATIONALE DivinoruM, printed 
by Fust and Schéffer, Mainz. “First printed book with types made by 
improved method—characters cut directly into bronze or steel and 
struck into hard matrices of copper or brass.”’ (Gustav Mori.) Beautiful 
large initial Q printed red on blue with red and blue ornament along 
type margin. 

Gutenberg prints Johannes de Balbus, CatHoticon with colophon: 
“this work: Catholicon in 1460 in Mainz... . not with reed, pencil 
or pen, but with patterns and forms of wondrous relation, proportion 
and uniformity ....” Colophon has no printer’s name. Type, small, 
round Gothic, quite different from 42-line Bible type. Less formal. 
Far less distinguished. About 65 copies known of this book. Some of 
these have a line of the first page printed in red, but most of them were 
left to be illuminated by hand. One of the very valuable incunabula. 


Fust and Schéffer, Mainz, print Constirutiones, Pope Clement V 
(1305-1316). One of the famous incunabula. Folio. 


Johann Mentelin, first printer in Strassburg, prints 49-line Latin Bratz. 
Date fixed by rubricator’s note in copy in University Library, Frei- 
burg. Volume I marked 1460, Volume II, 1461. Mentelin type is 
one of the fine Gothics whose round and simplified form tends toward 
Roman. Selected for study by William Morris. 


Albrecht Pfister, Bamberg, makes woodcut illustration a prominent 
feature of the printed book. Rough wood-blocks, intended to serve 
only as a foundation for hand illuminator’s work. Printed illustration 
does not become general till ten years later. Not many examples. A 
book narrating a dispute with death is considered earliest existing book 
with printed woodcut illustrations. 


First dated book with woodcut illustration. Albrecht Pfister prints 
Ulrich Boner, Epgtstsm, a book of fables in German by a Dominican 
monk of Berne. Type, large, powerful Gothic, handsome but not 
highly legible. Only two copies known. One in great library of Berlin 
contains 103 woodcuts, another in Wolfenbiittel has ror and the 
verse, lacking in Berlin copy, in which date of publication is given as 
St. Valentine’s Day, 1461. 


Fust and Schéffer, Mainz, print Latin Bisrz (48 lines to column), 2 
volumes, folio. Called “pulcria biblia” by Schéffer, and generally 


[70] 


1462 


1462 


1463 circa 


1464 circa 


1465 circa 


1465 


1465 


considered one of finest fifteenth century Bibles. First Bible bearing 
printed date. Red initials printed. Those intended to be blue left 
in outline for rubricator. Colophon printed in black and red with the 
famous two shields of the Fust and Schéffer printers’ mark in white 
on red. After this period Fust and Schéffer ceased color-printing and 
left the work to illuminators. The Earl of Carysfort vellum copy sold 
in 1923 to Dr. Rosenbach, the American book buyer, for 4800 pounds. 


Fust and Schéffer, Mainz, print broadside by Diether von Isenburg, 
Archbishop of Mainz, against Count Adolf von Nassau, his rival for 
authority. The first polemic print. 


Warfare between rival Archbishops Diether I von Isenburg and Adolf 
II von Nassau, ends in capture of Mainz by Adolf, sack and pillage, 
withdrawal of ancient privileges and exile of many citizens. Its printers 
and scholars scatter through Europe, spreading the art suddenly and 
widely. 


The first title-page: Papal Butt printed by Fust and Schéffer, Mainz. 
See 1470 for early book title-page. 


Adolph Rusch, Strassburg, prints first book in Roman type, Durantus, 
Rationate Divinorum. Type rough, but design good. Plain forecast 
of the more elegant Italian Roman types to come. Because of ungainly 
capital R, this type is referred to as the “R Bizarre.” 


An early Boccaccio. Fust and Schoffer, Mainz, print Leonardus Are- 
tinus, ‘TANCREDI FILAE SIGISMUNDAE AMOR IN GUISCARDUM. (Translation 
into Latin by Leonardo Bruni of Arezzo.) Printed with types of 1462 
Bible. Fust and Schéffer printers’ mark on last page. 


Only known date for fixing arrival of first printers in Italy, though it 
is considered almost certain they arrived earlier. Conrad Sweynheym 
(sometimes Sweynheim and Sweinheim) and Arnold Pannartz trans- 
port press or presses and equipment over Alps and establish themselves 
in Benedictine monastery at Subiaco, near Rome, under the prior 
(later Cardinal), Johannes de Turrecremata, or, by his Spanish name, 


Juan de Torquemada. 


The first book printed in Italy. The first dated book outside of Ger- 
many. Sweynheym and Pannartz, Subiaco, print Latin edition of 
works of Lacrantius. Folio. Type,a Gothic so simplified as to suggest 
the Roman forms that followed in a few years. Considered one of the 


[72] 


1465 


beautiful early types, and still a mystery to typographical students. Im- 
print gives place and date of printing (October 30, 1465) but not 
printers’ names. 


Sweynheym and Pannartz, Subiaco, print Cicero, Dg oratore. No 
imprint of name, place or date. Some commentators hold that it 
preceded the Lacrantius, because a copy contains the written date 
September 30, 1465. 


1465-1467 A lost Subiaco print. An edition of Donatus, OcTo PaRTIBUS ORA- 


1466 


1467 


1467 


1467 


1467 circa 


1468 


tronis. No example known, but a petition by Sweynheym and Pan- 
nartz to Pope Sixtus IV enumerates it as one of their works and states 
that 300 copies were struck off. 


Heinrich Eggestein, Strassburg, prints an advertising announcement 
of books for sale. Latin. Types of character transitional between 
Roman and Gothic, poor in design but very legible. This is often re- 
ferred to as the first printed advertising circular. See 1471, 1480. 


Sweynheym and Pannartz, Subiaco, print St. Augustine, Dr CrviraTE 
Der. Imprinted with date, June 12, 1467, but not with place of print- 
ing or with printers’ names. (None of the three existing Subiaco prints 
bear the names of Sweynheymand Pannartz.) 542 leaves, 44 lines each. 


Sweynheymand Pannartz begin printing in Rome. First book: Cicero, 
EpisTOLaE AD Famitiares. Rough Roman. Printers’ names imprinted 
in form of verses, which appear in imprints of most succeeding books. 


Ulrich Zell, first printer of Cologne, Germany, prints Johannes Nider, 
CoNSOLATORIUM TIMORATE CONSCIENCIE. A tract for Confessional ad- 
vice, and one of his earliest works. 


Ulrich Han, Rome, prints Cardinal Turrecremata, MeEprraTIONEs, 
often cited as first book in Italy to have printed initials and floriated 
borders instead of leaving blanks to be filled in by artists. The practise 
did not become common till introduced by Ratdolt. See 14.76. Type, 
large Gothic, opened up in calligraphic manner. Set across full width 
of page. Initials clumsy. Illustrated with woodcuts, and thus notable 
as early example of illustrated printed book. 


Giinther Zainer, first printer in Augsburg, prints MEDITATIONES DE 
vita Curisti. With date in imprint. He is presumed to have made his 
own types and supplied many other printers. Zainer was one of the 
first printers to follow Pfister in the use of woodcut illustrations. 


[72] 


1468 


1468 


1468 
1468 


1469 circa 


1469 


1469 


1470 


Following this period Zainer producesa long series of popular German 
“folk books” illustrated with rough woodcuts: SprsceL MENSCHLICHER 
BEHALTNIS, BELIAL, PLENARIUM, SCHACHZABELBUCH, etc. During en- 
suing period of approximately 20 years, Augsburg and Ulm developed 
a great business in illustrated printed books. 


“Second type” of Sweynheym and Pannartz in Rome. Lacrantivs, 
folio. More Roman in character than the Subiaco Lacrantius, though 
stilla Gothic form. A legend that Nicolas Jenson cast this face. Type 
not so elegant as the Subiaco letter. 


Gutenberg dies. 


Berthold Ruppel, an assistant to Gutenberg, and witness in his suit 
against Fust, establishes press in Basle, and prints till circa 14.95. 


Sweynheym and Pannartz, Rome, print Carsar, Editio Princeps, 
folio (second and third editions 1472). Vercittus, likewise Editio 
Princeps, folio, one of the rarest early works. Livy, 3 volumes, folio. 
Between this date and 1473 this Roman press produces 36 books. 
Almost all their books printed in Rome bear their names as printers. 


Beginning of the great Venetian printing. First Venetian printers, 
Johannes of Speyer and his brother Wendelin, also called Windelin. 
Family name unknown. The name “Speyer” supposed to be derived 
from German city of Speyer. Imprints are Johannes and Joannes de 
Spira, Vindelinus and Vendelinus de Spira, and frequently the Italian 
form da Spire. 


Johannes and Wendelin of Speyer, Venice, print Cicero, EprstoLar 
AD Famiuiares. Type, a clear, distinguished Roman with nothing of 
Gothic remaining except ruggedness of line. Superior to Sweynheym 
and Pannartz Subiaco type, both in design and mechanical execution. 
Only 300 copies struck off. Colophon says “Primus in Adriaci formis 
impressit,”’ etc., and this statement that it was the first book printed in 
Venice is now generally accepted as correct. See 1471, Decor PuEL- 
LARUM. 


Nicolas Jenson begins printing in Venice. A Frenchman, Master of 
the Mint, Tours, sent by Charles VII to Mainz to investigate printing. 
Apparently never returned to France, but went to Venice to print. 
Sometimes suggested that he was first associated with Sweynheym and 


Pannartz. 


[73] 


1470 


1470 


1470 


1470 


14.70 


1470 


1470 


1471 


1471 


Nicolas Jenson, Venice, prints Eusebius, Dg PrazpARATIONE Evan- 
ceica, folio, Generally considered his most beautiful work, and cited 
by most authorities as his first book. First use of his Roman types. 
Jenson period, 1470-1480. More than 150 editions known to be by 


him or attributed to him. 


Jodocus Pflanzmann, Augsburg, prints the first illustrated German 
Brste. Rough woodcuts, several of which are used repeatedly through- 
out the book to represent different characters and scenes—a naive 
method observable in many early illustrated books. 


Nicolas Jenson, Venice, prints Justinus, Errrom; Cicero, EpisToLar 
ap Atticum; Cicero, Ruerorica & Dr INVENTIONE, all in his Roman 
type. 

Speyer press, Venice, prints Livy (Livi), HisrorianumM RoMANORUM 
Decabes, 3 volumes; Pliny, Dz Natura Historia; St. Augustine, 
De Crvirate Det. (The latter book completed by Wendelin after 
Johannes’ death in 14.70.) Allin Roman type. Only 300 copies of 
the Pliny struck off, 600 copies of St. Augustine in two editions. See 
1473 for use of Gothic by Wendelin. 


Christopher Valdarfer, Regensburg, sets up press in Venice and prints 
Cicero, De orators. Also prints a DEecaMERON. Removes to Milan, 
14.73, and prints there till 1488. 


Arnold ther Hoernen, Cologne, prints one of Rolewinck’s sermons. 
Oldest known book with a page approximating the title-page. One 
of the first books with page numbers printed in. Probably first printer 
to use headlines. 


First printing in France. Michael Freyburger (also spelled ‘Frei- 
burger’’), Ulrich Gering and Martin Crantz (sometimes Kranz) of 
Germany set up press in Paris. Roman type chiefly. 


Freyburger, Gering and Crantz, Paris, print Gasparini, Episro.ag, and 
Gasparini, ORTHOGRAPHIA. Roman type, modelled on Sweynheymand 
Pannartz Subiaco type but not so good. See 1473, 1476. 


William Caxton at Bruges, Netherlands, finishes English translation 
of Raoul Le Fevre’s “SRECUEIL DES HISTOIRES DE TRoIg.”? Demand for 
copies of his manuscript leads him to study printing. 


Giinther Zainer, Augsburg, prints announcement of books printed by 
“Gunthero genant zainer von Reutlingen.” German. Type, a massive, 
legible Gothic. Advertises three books: SisEN TEUTSCHE PSALMEN, a 


[74] 


1471 


1471 


1471 


1471 


1472 


1472 


1472 


1472 


1472 circa 


1473 


a7 


German devotional book; Diz Hisrori von Aprotontus, a story of the 
King of Tyre; GrisELpis, a translation from Petrarch. See 14.66, 1480. 


Nicolas Jenson, Venice, prints Carsar and Nepos. Fine example of 
latter, with illumination, in Pierpont Morgan Library. 


Nicolas Jenson, Venice, prints Decor PuELLarum, a book instructing 
young girls how best to rule their lives. Imprint mccccrx1. Generally 
conceded as being misprint for MccccLxx1. Several Jenson books, like 
other early books, show errors in dating. 


Nicolas Jenson, Venice, prints series of devotional books like Decor 
PUELLARUM— PaLma VirTUTUM; GLorIA MULIERUM; PAROLE DEVOTE. 


First book printed in Speyer, Germany: PosTILLA sCOLASTICA SUPER 
ApocaLypsiM. Bears name of place and date, but no printer’s name. 
Type, a curious calligraphic Gothic anda small Roman. Eight books 
produced by this unknown printer. 


The second unknown printer of Speyer. Produces Gesta Curisti and 
nine other books, all in a transitional Gothic type. 


Johann Koelhoff, Cologne, prints Nider, Exposrrio Dscatoci. Be- 
lieved to be first book with printed signatures. 


“John of Verona” prints Valturius, Dr Re Mirirart. Eighty-two fine 
woodcuts of military operations and engines. An early and famous 
Italian illustrated book. 


Giinther Zainer, Augsburg, Germany, prints a “Life of Saints,” HEILic- 
ENLEBEN, with elaborately floriated woodcut initials. German text, 
Gothic type. Woodcut illustration of a martyrdom used for fourteen 
different Saints. 


William Caxton said to have been associated with a Cologne printer to 


learn the art. 


First illustrated book positively known from Ulm, Germany. Johann 
Zainer prints Boccaccio, Dr Ciaris Mutierigus. Both Latin and Ger- 
man editions. Type, Gothic, small and of poor design. Illustrated 
with woodcuts, rugged but not crude, and showing good drawing. 
Plainly intended for hand-coloring after printing. Good woodcut 
borders on first page, both illustrative and decorative. 


Wendelin of Speyer, Venice, prints Robertus Carracciolus, QaprRa- 
GESIMALE in Gothic. Is believed to have been first printer in Venice 


using Gothic. 


[75] 


14-73 


ne 


14.73 


T473 


1473-1498 


1474 circa 


1474 circa 


1474 


Albert von Stendal, Padua, prints Petrarch, PsaLMI POENITENTIALES. 


One of the smallest formats among the incunabula. 


First Gothic type used in France. Freyburger, Gering and Crantz, 
Paris, print ManipuLus CuRATORUM. 


Giinther Zainer, Augsburg, prints Columna, Dr REGIMINE PRINCIPUM. 
Printed headlines, chapter headings, paragraph marks, large and small 
initials, all complete without calling for aid from the rubricator. Bears 


date but not his name. 


Guillaume Le Roy, Lyons, prints Lothaire, Compenpium Breve, the 
first book printed in Lyons. Rough Gothic type of heavy character. 
Later uses a round Gothic: 1477, Miroir DE vig HUMAINE. 


Established dates of printing in Netherlands (modern Holland and 
Belgium). 1473, Alost. 1474, Louvain, Johann von Paderborn. 1475 
circa, Bruges, Colard Mansion. 1475, Brussels. 1477, Deventer, 
Richard Paffraet and Jacobus van Breda. 1477, Delft and Gouda. 
14.78, Zeeland. 1479, Nijmegen and Zwolle. 1480, Hasselt and Au- 
denarde. 1481, Antwerp, Gerard Leeu. 1483, Ghent. 1484, Herto- 
genbosch. 1485, Schoonhoven. 1488, Leyden, Kuilenburg and 
Haarlem. 1498, Schiedam. 


First printing in Spain. Lambert Palmart, Valencia, prints Fenollar, 
Opres E TROBES. Undated. Roman type. Palmart’s first dated book, 
Johannes, ComprEHENSORIUM, 1475. (Though Spanish printing began 
with Roman types, they were almost immediately displaced by the 
general Spanish preference for Gothic.) 


A printer in Nuremberg, Germany, prints KaLENparium by Johannes 
Miiller, the great astronomer of his time. In German. Type, a 
unique, handsome Gothic so simplified as to suggest Roman. The 
Miiller calendars were printed in many places and languages, and 
are generally referred to in bibliography as the Regiomontanus calen- 
dars. Miiller, born in Kénigsberg, signed himself in German as Johann 
von K 6nigsberg, Latinized into Monteregio and then Regiomontanus. 
See 14.76 for famous Ratdolt edition. 


Johannes von KGnigsberg issues in Nuremberg a large sheet, Gothic 
type, announcing in Latin the works on astronomy, geography, mathe- 
matics and music that he intends to print: Hrc opERA SIENT IN OPPIDO 
NuREMBERGA GERMANIE DUCTU IOANNIS DE MoONTEREGIO. Only a few of 


[ 76] 


14.74 


E475 


Sais 


1475 
1475-1478 


14.76 
1476 


1476 


the scheduled books appeared. He was called to Rome in 1475 and 
died there. 


Venetian taste having turned to Gothic formas well as Roman, Nicolas 
Jenson prints his first Gothic book, Gratianus, Copex. Text set double 
column as against his usual practise with Roman. 


Lukas Brandis, Liibeck, prints RuDIMENTUM NovicioruM. First dated 
print in that city. Illustrated with woodcuts, among them chart of the 
world and chart of Palestine, whichrank among oldest printed charts. 
A fine work, though one cut serves as portrait for all the Greek sages, 
and another does duty for a number of cities. Pollard calls this “a 


splendid and notable book.” 


Nicolas Jenson prints Saint Augustine, De Crvrratr Det, Gothic type. 
Some authorities name this as his first book in Gothic, but CopEx ap- 
pears to be established as preceding it. 


Nicolas Jenson, Venice, produces Vercitius. Roman type. 


First books by William Caxton. Printed in Bruges, Netherlands, pre- 
sumably in association with Colard Mansion. Type, rough Flemish 
Blackletter. All folios. Tur RecuyELL oF THE HYSTORYES OF TROYE, 
translated by Caxton from the French. THE GAME AND PLaYE OF THE 
Cuessg, translated by Caxton from the French. Lz Recugi pes His- 
TOIRES DE TRoyes, in the original French. Les Fats Dr Jason, French. 
Mepiracions. All undated, but “hystoryes of Troye” held to precede 
the rest, thus being the first Caxton and also the first book in English. 
(Colard Mansion probably printed or completed the French history 
of Troy and succeeding books.) 


Nicolas Jenson prints PLiny. Roman type. 


Erhard Ratdolt of Augsburg begins printing in Venice. Introduces 
printed ornamental borders and initials that eliminate necessity for 
hand-illumination. Till 1478 had as partners Peter Léslein and Ber- 
nard Pictor, Latinized form for Bernhard Maler of Augsburg. Ratdolt 
used both Roman and Gothic types. In the succeeding year appeared 
the first of the splendid Ratdolt initials, the “literae florentes” which 
still remain among the best achievements in book ornamentation. 


Ratdolt, Lésleinand Maler, Venice, print CaLenpario by “Regiomon- 
tanus.” First decorated title-page. First title-page giving name of 
author, title, place, printer and date. Floriated border around title- 
page. Roman type. Small quarto, 30 leaves. See 1474 for German 


[77] 


1476 


1470-1477 


1476 


1476 


1477 


te77 


at: 


Ni 


1477 


14.77 circa 


1477-1484 


edition. Regiomontanus, Monteregio and Monte Regio are forms of 


the name used by early printers. 


First Bible printed in France. Freyburger, Gering and Crantz, Paris. 
Gothic with Roman capitals. See 14.70, 14.73. 


First printer in England. Late in 14.76 or early 1477 William Caxton 
sets up press in Almonry at Westminster. See 1491 for his death and 
succession by Wynkyn De Worde of Alsace, his assistant. 


Johann Bamler, Augsburg, prints CRONICA VON ALLEN KAISERN UND 
Kinicen. Handsome woodcut illustrations. 


Following this period, Bamler plays important part in production of 
popular German books illustrated with wood-blocks, as initiated by 
Pfister and Zainer. Issues among others: Histor1 VON DEM GROSSEN 
ALEXANDER, HISTORIE VON DER KREUZFAHRT, BucH DER NarTvr, etc. 
Uses introductory pictures, precursors of the pictorial title-pages 
which later became splendid ornaments of the book. 


Heinrich Knoblochtzer, Strassburg, prints the first illustrated books 
in that city. Many ornamented borders in woodcut but usually of 
coarse design. 


Johann Mentelin, Strassburg, prints Wolfram von Eschenbach, Par- 
SIFAL. First printed edition of this famous legend. 


Ratdolt, Léslein and Pictor print CorioLanus Crpio. Roman type. 
Floriated initials. Floriated border with two shields crossed. One of 
the beautiful early books. 


First book printed in England. William Caxton, Westminster, prints 
Tue Dictrs or SAYENGIS OF THE PHILOsoPHRES, folio. Three editions. 
Flemish Blackletter differing from the Bruges types. The Carysfort 
copy bought in 1923 at Sotheby sale, London, by Quaritch for 2150 
pounds. 


Giinther Zainer, Augsburg, prints a Bible with large woodcut initials 
into each of which is introduced a little picture. At end of this edition 
is the fine printers’ device which is also used by his relative Johann 
Zainer of Ulm. (First edition of this Bible in 14.73 without the device.) 


First book in French printed in Paris. Pasquier Bonhomme prints 
CRONIQUES DE France. First use of Lettre Batarde. Gothic in charac- 
ter, French in spirit. A form of type still used. 

William Caxton, Westminster, prints: Book or Curresye, quarto, 
1477; Dionysius Caro, quarto, 1477; Chaucer, ANELIDA AND ARCITE, 


[78] 


BAD / 


1478 


1478 


1479 


Soe) 


a7 9 


1479 


quarto, 1477; Chaucer, THe Tempre or Bras (THE PARLEMENT OF 
Foutgs), 1477; Boethius, Dz ConsoLacionE PuiLosopuig, folio, 14.78; 
Aesop, THE Book oF THE SuBTYL HysToryes AND Fas es oF Esors, folio 
(translated from the French by Caxton), 1484; THE Game AND PLAYE 
OF THE CuessE (second edition), 1483. More than thirty books printed 
between 1477 and 1480alone. Almost a hundred books ascribed to 
him altogether. Owing to lack of imprints, early Caxton printing dates 
are only approximate. About a third of Caxton books have date of im- 
print clearly stated. Type: Flemish “Batarde” designs of Gothic, un- 
couth and rough. See 1518 for first use of Roman type in England. 
Niccolo di Lorenzo, Florence, prints EL Montes Sancro pi Dio. One 
of the first books, if not the first, to be illustrated with copper-plate 
engravings. Full page pictures. Venetian and Roman printers fol- 
lowed with similar isolated attempts, but copper-plate illustration did 
not come into general use till end of the sixteenth century when the 
typographically conceived book declined. 

Giinther Zainer, Augsburg, dies, having printed about 100 works, 
most of them illustrated with woodcuts and ornamented with initials 
large and small, some further ornamented with woodcut borders. 


Martin Husz (Huss), Lyons, produces first illustrated book in France: 
Le Mrirovuer DE LA REDEMPTION. Gothic type. Types and woodcuts 
from Basle. 

Giovanni Alvisio, Verona, Italy, prints Italian translation of Axsop, 
notable for good woodcut illustrations. Borders bear small repeated 
designs strongly suggestive of the typographic flowers adopted in later 
periods. 

Heinrich Quentell, Cologne, issues his first dated print. Between this 
date and 1500 prints more than 400 works, among them the famous 
Quentell Bibles in German and Dutch with excellent, large woodcuts 
and elaborately decorative margins. 

Johann Neumeister, Mainz, prints Turrecremata, Meprrationgs. I]- 
lustrated with 34 drawings engraved in metal, with borders, ornaments 
black on white in the Florentine manner. Fine pointed Gothic litur- 
gical type making a handsome page with the cuts which are placed as 
large headpieces. 

Nicolas Jenson, Venice, prints Marchesini, MaMoTRECTUs, octavo. One 
of his last books. Gothic type. Not so good as his Dr CiviraTE Dez (see 
1475), which is esteemed as beautiful Gothic printing. 


[79] 


1479 


1480 


1480 


1480 


1480 


1480 circa 


1480 circa 


1481 


1482 


1482 


Jean Grolier born. Destined to exert great influence as patron of fine 
book art. 


Roman DE La Rosz, attributed to Guillaume Le Roy, Lyons. Type, 
graceful French modification of Gothic. Illustrated with coarse 
woodcuts. 

Nicolas Jenson dies. Bequeaths his punches to Peter Ugelheimer 
(Ugelleymer), a Venetian patrician born in Frankfort, who had been 
interested in Jenson’s printing business. (Jenson had formed partner- 
ship with John of Cologne, and books imprinted “John of Cologne 
and Nicolas Jenson” continued to issue till end of 1481.) 

Anton Koberger, Nuremberg, Germany, prints advertising circular, 
announcing in Latina book by the Archbishop of Florence. Single 
sheet, Gothic type more rounded than first Germanic Gothics. 
Erhard Ratdolt, Venice, printing alone, produces CHronica, sEU Fas- 
cicuLus TEMporuM, a popular chronicle first printed in Cologne about 
1474, and appearing in many editions thereafter, German and Latin, 
issuing from various cities. Contains long passage on printing, ascrib- 
ing it to 1457. Crude woodcut illustrations of cities, among them the 
second known print of Venice. Fine woodcut initials, floriated, white 
on black ground. Floriated borders. Gothic type. Another beautifully 
ornamented edition in Dutch, printed 1480, by Veldenher in Utrecht. 


Geofroy Tory born. Destined to elevate French book art as author, 
illustrator, decorator, type-designer and printer. Birthplace, Bruges. 
Hence signature, ““Geofroy Tory de Bourges.” Occasionally Latin- 
ized by him to “Godofredus Torinus.” 

Andrea de Torresani, Venice, having previously bought a Gothic font 
of Jenson types, buys matrices of Roman from his heirs. 

Johann Sensenschmidt, Bamberg, prints MissaLz BenepicruM. Fine 
Missal types, unusual capitals in many sizes. One of the distinguished 
liturgical printers. 

Georg Reyser, Wurzburg, prints MissaLeE Mocuntinum. Copper-plate 
first page showing arms of Mainz Cathedral and of the Archbishop. 
Erhard Ratdolt, Venice, prints Bosco, SPHAERICUM OPUSCULUM. As- 
tronomical drawings in woodcuts printed black and white. Second 
edition (1485) shows six woodcuts printed in two colors each and 
one in four colors: black, red, orange, olive. The beginning of much 
similar printing by him, using mostly black, red, yellow and brown, 
but occasionally blue. 


[ 80 | 


1482 


1482 


1482 


1482 


1483 


1483 


1483 


1483 


1484 


Erhard Ratdolt, Venice, prints Euciip. Pages with beautifully designed 
borders. Initials in his best grand manner. Geometrical symbols in 
white space adjoining text and placed to contribute ornamental 
character to pages. Folio. Prized asa masterpiece illustrative of what 
can be done with a textbook. First printed book with mathematical 
figures. Border and initials designed by Bernhard Maler. In a few 
copies, a dedication formed a full page printed in gold, and some red 


and blue was used in text and borders. 


Johann Blaubirer, Augsburg, prints ZEICcHEN DER FaLSCHEN GULDEN. 
Broadside illustrated with cuts of coins. One of the first printed 
“counterfeit coin detectors.” 

Leonhard Holl, Ulm, prints Ptolemy, CosMocrapuia. Contains one 
of the earliest woodcut maps. Fine initial letters. Handsome woodcut 
illustrations, with decided decorative instinct. Type, large, clear 
Gothic of elegance in design but imperfectly cut. 


Erhard Ratdolt, Venice, printingalone, produces Curonicon (by Euse- 
bius). Quarto. Gothic and Roman type. Printed in red and black. 
Floral woodcut initials on black ground. Fine example of Ratdolt 
treatment of large and small ornament. One of the books studied by 
William Morris. 


Erhard Ratdolt, Venice, prints Das Buco DER ZEHN Gezote. The Ten 
Commandments, in German. Type, a handsome small Gothic of fine 
legibility. Very large initial letters white with white floriation on black 
ground. Interesting treatment of headings and sub-headings. 

Peter Léslein, Venice, printing alone, produces Isidori, EryMoLocIAgE 
Hispariensis. Gothic type, much like Ratdolt’s. Both Ratdolt and 
Léslein turned to Gothic type after dissolving their partnership. 


Anton Koberger, Nuremberg, prints Brste in German Gothic type 
tending to style later known as Schwabacher. 


Date of ArisToTLe printed by Andrea de Torresani de Asola, an illu- 
minated copy of which in Pierpont Morgan Library is accounted one 
of the world’s magnificent examples of book decoration by hand. 


Peter Schéffer, Mainz, prints HErsartus, a treatise in German on 
medicinal trees and herbs, illustrated with woodcuts of about 150 
plants, mostly in outline. Gothic type entirely different from the cer- 
emonious ecclesiastical Missal and Bible types. Free calligraphic ease 
of forms clearly tending to the later Schwabacher. 


[81] 


1485 


1485 


1486 


1486 


1486 


Peter Schéffer prints Gart DER GESUNDHEYT, a work similar to the 
Hergarius, with more than 300 woodcuts of medicinal plants and a 
fine frontispiece showing a council of botanists. 


Peter Schéffer prints Hortus Sanrratis, an enlarged edition of Gart 
DER GESUNDHEYT, With additional cuts and a full-page frontispiece for 
each part. Another edition of Hortus Sanrratis printed by Meyden- 
bach of Mainz in 1491, and one with very fine woodcuts by Johann 
Priiss, Strassburg, 14.95. 


The “Dinckmutmeister,”’ Ulm, produces cuts for a famous illustrated 
book, Thomas Lirar, CHronik von ScHwaBeEN. Representative of works 
issuing from that city whose craftsmen in this period became active in 
production of books with woodcuts. The 22 drawings in the CHRoNIK 
show a great advance. Wood-blocks carved with considerable refine- 
ment. Use of shading marks them as transitional forms between pre- 
ceding crude cuts that needed to be improved by the colorist, and later 
illustrations which were rich art in themselves. Artist’s name lost. 


Known only as “Dinckmutmeister,” because the books were printed 


by Conrad Dinckmuth. 


“Schoolmaster of St. Albans” (name unknown) prints the famous 
work of Dame Juliana Berners generally mentioned as the Book of 
St. Albans: THE Boxys or HauKING AND HUNTYNG AND ALSO OF CooTAR- 
MuRIS. Treatise on coat armor illustrated with rude woodcuts most of 
which are printed in color. Initials and paragraph marks printed in 
red and in blue. Printer’s mark white on red. Earliest known color 
printing in England. Rough typography in types probably dating 
from Caxton’s early period. Very few perfect copies known. Imper- 
fect copies have sold for as high as $12,000. The finest perfect copy 
known was valued in 1925 byits American owner at $35,000. Wynkyn 
De Worde reprinted the work in 1496 and added the Treatise oF 
F YsHINGE. 


PEREGRINATIONES IN ‘TERRAM SANCTAM printed in Mainz. “A book 
marking arrival of conscious art in printed illustration.’ Describes 
journeys in the Holy Land by Bernhard von Breydenbach, illustrated 
by Erhard Reuwich (also spelled Reuwick). Pollard says it “stands on 
a little pinnacle by itself.”” Copies on vellum as well as paper, “as its 
magnificence deserves.” Types apparently Peter Schéffer’s. One of its 
features is a magnificent title-page, the design consisting of various 
coats of arms tied together with floriation amid whose stems are child 


[ 82 | 


1486 


1487-1495 


circa 


1487 


1487 


1487 


1487 


figures. In 1686 a copy auctioned off in England for four shillings. 
More than 12 early editions known, in Latin, German, French, Spanish 
and Dutch. Fineexamplein Morgan Library iscataloguedas PEREGRA- 
TIONES IN MONTEM SYON. 


First known specimen sheet of types. Erhard Ratdolt in Augsburg 
publishes broadside showing Gothic, Roman and Greek. Assumed 
to have been printed in Venice before departure from that city. Gothic, 
ro sizes, Roman, 3 sizes. One of the good type specimens of the world. 


See 1592. 


Period of Plato de Benedictis (Francesco di Benedetti). Printed in 
Bologna, Italy, with a pure Roman type so happily designed that it 
preserves for modern use the richness of early Italian art. Only 33 
works enumerated as his production. 


Printing introduced in Portugal, marking completion of its spread 
through Europe. A printer in Faro, known only as the “Printer for 
Don Samuel Gaeon”’ prints folio PENTaTEucHus in Hebrew. From 
1489-1492 Rabbi Eliezer prints in Lisbon, producing about six theo- 
logical works in Latin. 


Between this date and 1522 Erhard Ratdolt, printing in Augsburg at 
invitation of ecclesiastical authorities, prints nearly 50 magnificent 
liturgical works for various Bishoprics. Initials, ornament and wood- 
cut illustrations printed in gold, red, blue, green, olive and brown. 
First production, OssEquiaLe AuGusTENsE. Full page woodcut of 
Bishop Friedrich printed in black, red, yellow and olive. Introductory 
heading in red. One of his fine initials, Q, in white on black ground 
with white ornament. Breviary for Regensburg in same year has 
similar treatment. Drawing and wood-engraving for illustrations of 
high quality, showing influence of Augsburg craftsmen. 


Johann Neumeister of Mainz, invited to Lyons by Cardinal Amboise, 
prints there MissaLE SECUNDUM UsuM Lucpunt. One of the fine liturgical 
works of incunabula period, with stately pointed Gothic types. Litur- 
gical printing continued to produce splendid books till Luther’s time. 


Paris craftsmen turn their art to production of the famous books of 
worship known generally as Books of the Hours of the Blessed Virgin. 
A long period of increasingly ornate decoration. The books become a 
favorite luxury. Colors laid on both by printing and by hand. Illustra- 


tions and ornament by famous artists. Often printed on vellum. 


[83 ] 


1488 


1488 


1488 


1488 


1488 


1488 


1489 


1491 
1491 


Sumptuous bindings frequently encrusted with gems and gold. Es- 
timated that about 600 editions were produced altogether. 


Antoine Verard, Paris, produces Granpes Heures with many wood- 
cuts, after having produced his first small and plain Book of Hours in 
1486. Issues about 25 of these devotional books up to 1513. 


Philippe Pigouchet and Simon Vostre produce HEvrEs A L’USAGE DE 
Rome. Not important as typography, but enriched by competent use 
of blocks of ornament with borders containing many handsome mini- 
ature designs. Vostre produces about go Books of Hours up to 1520. 
Pigouchet productions generally accounted the most important of all, 


with isolated exceptions. 


Johann Priiss, Strassburg, prints FLoREs MUSICE ARTIS, with musical 


notes cut in metal. 


Andrea de Torresani (see 1480) prints in Venice, Hieronymus, Epis- 
TOLAE, folio. Type, Jenson’s Roman. A fine book, often referred to as 
linking periods of Jenson and Aldus, though Aldus did not use Jenson 
types. 

Jean Du Pré, Paris, prints Book of Hours with 5-page explanations of 
vignettes in the borders. Nineteen engravings on wood-block in some 
editions, and believed to have been on copper in others. In 1490, 
prints an edition in blue, red and green. 


Michael Wenssler, Basle, prints Missa.e, large and small Missal types 
of fine design, good borders. One of the leading liturgical printers. 


Luc Antonio Giunta (Latinized to Lucas Antonius Junta) is entered 
as printer in Venetian registry. Establishes press which produces many 
fine works, and later is praised as “second only to Aldus,” who accuses 
the Giunta of pirating his types. A brother, Filippo, isa leader of print- 
ing in Florence. The great Venetian period of the illustrated book 
begins. 

William Caxton dies. Wynkyn De Worde succeeds. 


Anton Koberger, Nuremberg, prints Der ScHarzBEHALTER. Religious 
book, richly illustrated with woodcuts depicting Bible stories. Attrib- 
uted to Michael Wohlgemuth, teacher of Albrecht Diirer. This, as 
well as the 1493 Chronicle, though representing high art in illustra- 
tion, still were intended to be hand illuminated —a traditional habit 
that continued till Diirer and Holbein triumphed over it. 


[ 84 ] 


1491 


aa 


£493 


1493 


1493 


1493 circa 


1493 


First Biblein octavo. John Froben of Hammelburg (Latinized to Fro- 
benius), in Basle (then a German city), prints Brstia Latina. Small 
octavo. Froben’s first dated book and probably his first production. 
One of the celebrated printers, eminent both for printing and scholar- 
ship. The first to use for Bible type the smallest body then known, ap- 
proximately equal to nonpareil. Erasmus and Hans Holbein worked 
in close association with him. 


Jacob van Breda (Latinized Jacobus de Breda), Deventer (in diocese of 
Utrecht, Netherlands), prints EpistELEN ENDE EvaNGELIEN. Epistles in 
Dutch. Finely designed pages. Type, handsome, confidently modelled 
Gothic. Superior to Lettre de Forme used by Colard Mansion in Brus- 
sels, 1484. Similar to Haarlem letter of Bellaert, 1485. Same letter 
used by “Henrick die lettersnider” (Henry the letter-cutter) 14.96 in 
Antwerp. Called by Enschedé “St. Augustin Flamand.” 


Michael Furtner, Basle, prints Der Rirrer vom Turn. A medieval 
novel. Illustrated with 45 woodcuts of great vigor and quality, formerly 
ascribed to Diirer, but now held to indicate that in this period another 
skillful, unknown wood-engraver was active. 


Joannes (Giovanni) and Gregorius (Gregorio) de Gregoriis, Venice, 
print Ketham, Fascicutus mepiciNae. Illustrated with good woodcuts 
showing surgical operations and anatomical objects. Full folio page 
cuts show a dissection, a council of physicians, etc. (Original edition, 
1491, contained only illustrations of surgical instruments.) 


Wynkyn De Worde prints his first illustrated book, THE GoLpEN 
LEGEND, using rude woodcuts owned by Caxton. Gothic type, rather 


rough. 


Richard Pynson prints Chaucer, Canrersury Tass. Illustrated with 
rough woodcuts at head of each page, the same cut being used with 
alterations for various characters. 


Anton Koberger, Nuremberg, prints Schedel, Lier CuronicaruM 
(the famous Nuremberg World Chronicle), with almost 2000 wood- 
cuts from illustrations by Diirer’s teacher Michael Wohlgemuth, the 
latter’s stepson Wilhelm Pleydenwurff and others. A magnificent 
frontispiece. In German. Type, Gothic of character noticeably differ- 
ing from the Gothics used for ecclesiastical works in Latin. The 


Chronicle was reprinted in many languages. 


[85 ] 


1493 


1493 


14.94 


14.94 


14.94 


1494 


1495 


Anton Koberger, Nuremberg, prints announcement of the Liner 
Curonicarum. Handsome, legible Gothic on large single sheet. Latin 
text, partly prose, partly verse. Altogether more than 30 such book 
announcements were issued before 1500 by printers in Germany and 


Italy. 


Letter of Christopher Columbus to Gabriel Sanchez, royal treasurer 
of Spain, announcing discovery of America (Indies as he believed), 
printed in Europe. In original Spanish: Barcelona, type of Pedro Posa. 
In Latin translation: Rome, Stephen Plannck, 2 editions, Rome, 
Silber; Antwerp, Thierry Martens; Paris, Guyot Marchant, 3 editions; 
Basle, type of Jacob Wolf of Pforzheim; Basle, Johann Bergmann de 
Olpe (Bergmann von Olpe). Spanish, 1497, Valladolid, type of Pedro 
Giraldi and Miguel de Planes. German, 1497, Strassburg, Bartholo- 
maeus Kistler. Of the 9 Latin editions, New York Public Library 
possesses 6. It possesses the only known copy of Posa Spanish edition. 


Aldus Manutius (born 1449 or 1450 in Bassano, Italy), begins print- 
ing in Venice. Musaeus, DE HErone ET LEANDRO, GALEOMYOMACHIO, 
both in Greek. 


Johann Bergmann von Olpe, Basle, prints Brant, Das NarrENSCHIFF, 
richly illustrated with woodcuts by the unknown artist of the RiTTER 
vom TuRN, 1493. This “Ship of Fools” book became one of the most 
widely read works of the world and still isa classic in all languages. 


Joannes (Giovann1) and Gregorius (Gregorio) de Gregoriis, Venice, 
print Herodotus, Heropoti Hisrorici Incirrr. In Latin. A splendid 
opening page bearing title and text in Roman under woodcut illustra- 
tion of good design. The whole page framed by wide border with 
illustrative designs and figures, held together by running floriated 
forms, white on black. 


Richard Pynson prints Lydgate, Fate or Princis. Illustrated with 
what Pollard calls “some of the best woodcuts published in England 
up to that time.” | 


Denis Meslier, Paris, prints Villon, Granp TEsTaMent. A feature is 
its opening initial letter, an extraordinarily fantastic design occupying 
great space and designed by printer to obviate necessity for hand illu- 
mination. Type, handsome Gothic of clearness and simplicity char- 
acteristic of Roman. 


[ 86 | 


ag cat J 


sn Soe 


ato 5 


1496 


1496 


1496 


nO 7 


a he Wi 


B07. 


Bt / 


1497 


Richard Pynson, England, prints Usum Sacrum in English. A fine 
Gothic type effectively used within pictorial border which is orna- 
mental though drawing and wood-engraving are rough. 


In Florence, Italy, is printed Erisrote rt Evanceti which is considered 
good example of the illustrated book as produced in that city in this 
period. Florentine book decoration is characterized particularly by 
fine borders with white ornament on very black ground. 


First music printed from type. Wynkyn De Worde, Westminster, 
Higden’s Potycuronicon. A copy sold in 1760 for 14 shillings; in 
1815 for 150 pounds; 1865 for 477 pounds. 


A book of DEN GROTEN PHILOZOPHE ENDE POETE JACOP VAN MEERLANT 
(the great philosopher and poet Jacob, or Jacques, van Meerlant), 
printed in Antwerp by “Henrick die lettersnider,” who 1s believed to 
be the cutter of the type used by Van Breda. 


The press of the monastery of Hem, Schoonhoven, Netherlands, prints 
Dutch Book of Hours in the type of Deventer, 1493 and Antwerp, 


14096. 
Govaert Bac, Antwerp, prints EpistELE EN DYE EVANGALIE. Dutch, in 
the St. Augustin Flamand type. 


Hugo Janssoen van Woerden, Leyden, prints Diz GHETIDEN VAN ONSER 
LIEUER VROUWEN (book of hours in Dutch) in the St. Augustin Flamand 
type. 

Rolant van den Dorp, Antwerp, prints CHRONIQUE DE BRazanT. Flem- 
ish, in St. Augustin Flamand type. Finely composed and printed. 
Lines broken for paragraphs, which are further indicated by orna- 
mental paragraph marks of distinguished character. 


Bartolomio de Zani da Portesia prints a PeTrarcu, illustrated with en- 
gravings which show great advance over woodcuts of Ratdolt period. 
(Ratdolt’s printed ornament superb, but illustrations were inferior.) 


Henri Estienne founds the great French press, illustrious with names of 
Simon de Colines, Geofroy Tory, Claude Garamond and the Estienne 
dynasty— Henri’ssons, Francis, Charlesand Robert,and Robert’s son, 
Henri Estienne II, most famous of family. 


Thielman Kerver, Paris, begins production of his famous “Horae”— 
Books OF THE Hours OF THE BLESSED VIRGIN. Pigouchet’s most effec- 


tive rival. 


[87] 


1498 


1498 


1498 


1498 


angle 


wa peke) 


1499-1501 


Anton Koberger, Nuremberg, prints APOCALIPSIS CUM FIGURIS, Albrecht 
Diirer’s series of 15 woodcuts. The first edition with Latin text. The 
victory of the woodcut printed in black and white over the hand illumi- 
nated printed book. 

Erhard Ratdolt, Augsburg, prints one of his finest liturgical works, 
Missarz for Passau. Text, folio pages of massive, close-fitting and 
beautifully legible Gothic, printed very black with one small initial 
in red to the page. Brilliant handling of psalms; musical scores and 
text printed in alternating lines. Musical notes black on red, text black 
with large initials in black and red. A fine full-page woodcut showing 
the city’s three Saints printed in black, red, yellow, brown and olive. 
Drawing ascribed to Hans Burgkmair. Another Missate for the same 
city in 1505 with still finer designs and woodcuts, including a splendid 
great initial T printed in red on elaborately ornamented black and 
white ground, all ascribed to Burgkmair. 


Henrick Eckert van Homberch, Antwerp, prints VADER Borck (‘The 
book of God the Father). In Dutch. Type, rich Gothic of St. Augustin 
Flamand character. Set in double column, divided into paragraphs. 
Handsome pages vigorously treated. 

Fadrique de Basilae, Burgos, Spain (Friedrich Biel of Basle), prints 
Doctor Infante, ForMa LIBELLANDI. In Spanish. Type, a fine, heavy 
Gothic of highly legible design. Set in bold lines full measure across 
large folio pages. Woodcut initials designed with much and beautiful 
detail. One of the famous Spanish printers. Began printing about 14.96. 


Aldus Manutius, Venice, prints Colonna, HypNerotomacuia Pott- 
PHILI, folio. His most beautiful Roman font. Generally described as 
on the whole the most admirable illustrated book of the world. Some 
authorities believe illustrations were from engravings on metal instead 
of wood. A second edition, printed 46 years later, shows them in ex- 
cellent state. Practically his last large book. 


CuRONICLE, printed in Cologne, says on authority of Ulrich Zell of 
Hanau (who began printing in Cologne about 1467), that printing 
was invented in Mainz by Gutenberg, but also mentions earlier Dona- 
tus printings in Netherlands. (See 1440-1456.) Names cities in which 
printing first appeared as: Mainz, Cologne, Strassburg, Venice. Mod- 
ern authorities believe Strassburg preceded Cologne. 


Aldus Manutius, Venice, marries daughter of Andrea de Torresani. 
Had printed nearly 40 editions by end of this century. 


[88 ] 





1500 


1500 


1501 


I5O1 


1501 
1501 


1502 


1502-1520 


1503 


1504 


A CHRONOLOGY OF PRINTING 


XVI CENTURY 
THE ILLUSTRIOUS VENETIAN AND FRENCH PERIOD 


Juan and Pablo Hurus, Swiss printers established in Saragossa, Spain, 
print Orricia Quotipiana, which Konrad Haebler, the foremost 
authority on Spanish printing, calls one of the finest books ever printed 
anywhere at any time. Gothic type. Richly ornamented. 


Govaert (Govuaert) Bac, Antwerp, prints SpYEGHEL DER IONGHERS, a 
religious book. Dutch. In powerful, carefully designed Gothic. Small, 
elegant capitals. 


Aldus Manutius begins printing with his Aldine types, now called 
Italic. Based on Italian manuscripts which were calligraphically the 
finest in Europe. 


First book in Italic. Aldus, Venice, Vercitius. The famous “little 
Virgil.” Beginning of Aldine Classics in Latin, Italian and Greek, made 
to sell for low prices. In “lines in praise of the letter-cutter,” Aldus 
gives credit to Francesco da Bologna. About 1820 a copy of this book 
brought 13 pounds in an English auction. 


First Aldine book in Italian. Aldus, Venice, Petrarch, Lz Coszt Vot- 
GARI, in Italic. 


Aldus Manutius begins use of his famous printer’s mark —anchor en- 
twined by dolphin. First shown in DantTs, 1502. 


Johannis Grieninger, Strassburg, Germany, prints Vircit. Roman 
type. Woodcut illustrations in characteristic vigorous German style. 


Typography and cuts in close harmony. 


Henri Estienne, Paris, creates famous French period, producing more 
than 100 books. 

Giunta press, Venice, produces MissaLE VALLoMBROSA, printing large 
initials and ornament with the text, instead of leaving blanks to be filled 
in by hand. (Coloring of such sumptuous liturgical works continued 
for some time to employ the waning craft of illuminators. ) 


Peter Hagenbach, Toledo, Spain, prints for Cardinal Ximenes 
(Cisneros), Archbishop of Toledo, a noble folio, De Las Tasias y 


[ 89 | 


1595 


5 
Soya: 


1595 


1597 


1508 


1508 


1599 


ENDS, 


EscacEra SpirITUAL, in Spanish. Rich Gothic, double column. Initials 
white on black ground, floriated. 


Herman Barckhusen, Rostock, Germany, prints Amerigo Vespucci, 
EpistoLa ALBERICI DE Novo Munpo, describing Brazil. Only 3 ex- 
amples of this letter known. 


Aldine Press issues ArscHyLus and Axrsopus, Greek and Latin. 


Henric (Henrick) Eckert van Homberch, Antwerp, prints PAssiloNaEL 
OF GULDEN LeGEeNnpDE. Dutch. Rich Gothic of considerable weight in 
double column set solid without paragraphing. 


Erhard Ratdolt, Augsburg, prints MissaLe for Augsburg. Text black 
and red in two sizes of sturdy, legible Gothic well composed. Episco- 
pal coat of arms in black and red. Fine full-page woodcut depicting 
the Crucifixion. Printed in black. Illustrations as well as large and 
handsome initial T (printed in red on elaborately ornamented black 
and white ground) designed by Jérg Breu of Augsburg under in- 


fluence of Burgkmair. 


Johann Pfeil, Bamberg, prints BAMBERGISCHE HaLsGERICHTS-ORDNUNG, 
an official criminal code. Illustrated with many handsome woodcuts. 
An example showing how thoroughly the love for illustrated prints 
had conquered the public mind. 


First book printed in Scotland. THe Mayinc anp DisporTE oF CHAUCER. 
Printers, Walter Chepman and Andrew Myllar (also spelled Miller). 
Type probably imported from Rouen, France, a Blackletter of hand- 
some design. Colophon: Heir endis the maying and disport of Chau- 
cer. Imprentit in the southgait of Edinburgh be Walter chepman and 
Androw myllar the fourth day of Aprile the yhere of God MCCCCC 
and VIII. 


Emperor Maximilian I appoints Johann Schonsperger Imperial Court 
Printer and plans many magnificent productions, of which only the 
Prayer Book (see 1512-1513) and the Theuerdank (see 1517) are 
completed before his death. 


Johann Sch6ffer, Mainz, prints REFORMACION DER STAT FRANCKENFORT 
AM Meng, the first issue of municipal laws of Frankfurt. Woodcut 
initials. Full-page woodcut coat of arms on reverse of title-page. Type, 
a form of Schwabacher. 


Leonardo Da Vinci’s Roman capitals, drawn on geometrical princi- 
ples, are produced in Divina Proportions, published by Luca Pacioli. 


[90] 


9 


AS22 


1510 


ESET 


1511 


1512-1513 


1512-1556 


1514-1518 


Geotroy Tory later assails this book as misrepresenting Da Vinci’s 
design. See 1525, Albrecht Diirer; 1529, Geofroy Tory; 1537, Se- 


bastian Serlio. 


Henri Estienne, Paris, prints QuINCUPLEX PsaLTERIUM. Roman type. 
Printed in red and black. Ornaments in red fill out broken lines in the 
columns. 


Thielman Kerver, Paris, prints Psarrerium. Type, Lettre Batarde. 
Each page with pictorial borders whose illustrations sometimes carry 


legends in Gothic type. Ten full page cuts printed from metal plates. 
Red and black. 


Jean Grolier (Vicomte d’Aguisy) succeeds his father as ‘Treasurer- 
General of Duchy of Milan. 


Printer in Nuremberg (presumably Hieronymus Hélzel) prints 
“Grosse Holzschnittpassion” of Albrecht Diirer: Passto DoMININosTRI 
Jesu, EX HirronyMo Papuano, etc. (“Kleine Holzschnittpassion” 
printed same year, same printer. ) 


Jan Seversz, Leyden, prints STiMuLUs DIvINI AMoris in Dutch transla- 
tion. Gothic type, small but elegant initials and capital letters, and 
paragraph marks. Type, St. Augustin Flamand. 


Johann Schénsperger, Augsburg, prints the famous prayer book of 
Maximilian I. Type has characteristics of both Schwabacher and Frak- 
tur. Lavishly decorated by Albrecht Diirer, Hans Burgkmair, Lukas 
Cranach, Hans Grien and Jérg Breu. Only 5 examples known, all 


on vellum. 


Kerver press, under him and later under his widow and sons, produces 
almost 70 of the luxurious Books of the Hours. This form of book 
art, except for one final brilliant flowering with Tory’s famous pro- 
duction of 1525, entered on a steady decline after the first quarter of 
the sixteenth century. 


First Polyglot Bible. Bratia Sacra PotycLotra, known as Complu- 
tensian Polyglot. Printed in Alcala (Latinized to Complutum), Spain, 
by Arnald Guillen de Brocar (Latinized to Arnaldi Gulielmi de 
Brocario), typographer to Charles V, and one of Spain’s famous print- 
ers. 6 volumes, folio. Greek, Hebrew, Chaldee, Latin. Titles, head- 
lines, etc., in Gothic of decided Spanish spirit. Latin text in Roman of 
Venetian character. Produced for and at expense of Cardinal Ximenes 


[or] 


1514 


1514 


ey is) 


1516 


1516 


1516 


1516 


T5t7 


(Cisneros), Archbishop of Toledo, who gave his fortune to it. Pub- 
lished circa 1522, after his death. One of the world’s splendid works. 
Had already become scarce in 1572 when Plantin issued his Polyglot 
Bible. 

Johannes Rubeus, Venice, prints Sigismondo Fanti, (Sigismundus de 
Fantis) THEORICA ET PRACTICA DE MODO SCRIBENDI. A work on pen- 
manship dedicated to the Duke of Ferrara, and ornamented accord- 
ingly. Profusely decorated borders, white on black in Florentine 


manner. 


Johann Schénsperger of Augsburg, prints in Nuremberg Drurna.e 
with a splendid Fraktur type of great size. 


Aldus Manutius prints a textbook on grammar with preface addressed 
to his friend Jean Grolier, the great patron of book art. Probably last 
book printed by him. Died in this year. 


John Froben, Basle, with the great Erasmus, produces Erasmi, Novum 
TESTAMENTUM GraEcuM. New Testament in Greek, many editions 
1516-1535. 

First dated book-plate known. Engraved by Albrecht Diirer for 
Johannes Ebner. Undated German book-plates were used in fifteenth 


century. 


Ugo da Carpia, Venice, obtains patent for his invention “di stampare 
chiaro et scuro,” held to be an early attempt at woodcutting in 


chiaroscuro. 


Fadrique de Basilae, Burgos, Spain (Friedrich Biel of Basle), prints 
De ra Natura Ance ica. Used mostly Gothic, in accordance with 
Spanish preferences, but also had admirable Roman types, and printed 
many books in latter face, or with both mixed. His book-designs are 
strongly Spanish in spirit. 

Johann Schénsperger, Nuremberg, prints Diz GrvERLICHEITEN UND 
EINSTEILS DER GESCHICHTEN DES .... . HeEtps unD RitTers HERR 
Tewrpawnckus. An allegorical record of the bridal tour and adven- 
tures of Kaiser Maximilian I. Type, an extraordinary form of the cal- 
ligraphic “chancellors’” script. The “Theuerdank” type remains a 
prominent type in German printing for many generations, and is gen- 
erally considered as the transitional form from old Schwabacher to 
Fraktur. Illustrated with 118 large woodcuts from drawings by Hans 
Schaufelein. 


[92] 


1518 


recs 


1518 


1520 


1520 


1520 


1520 


1520 


1520 


1520 


First printer in England to use Roman type. Richard Pynson, Pace, 
Oratio, quarto. Rough, uncouth type. 

Geofroy Tory, after brilliant years as Professor of Philosophy, author, 
book illuminator and designer, turns to engraving on wood. 

One of Hans Holbein’s earliest book-designs. Title-page for Sir 
Thomas More’s Uropia, printed by Froben in Basle. Title and open- 
ing text in Roman type in oblong panel. Initial letter white on orna- 
mented ground. Border in form of arch profusely ornamented. In 
upper corners on scrolls the words “ Hans” and “ Holb.” Also same 
year, Erasmus, EpiGRaMMATA, title-page border of naked children in 
fine running design. 

Simon de Colines marries Henri Estienne’s widow. 

Geotroy Tory begins long and fruitful activity in designing floriated 
initial letters, mostly Roman, borders and other ornament, strongly 
marked by Renaissance spirit in opposition to the prevailing Gothic 
manner. See 1529 for reference to type-design. 

John Froben, Basle, prints Erasmus, Parapurases IN Epistoas, with 
initials, frames to chapter pages and woodcut around title-page by 
Hans Holbein. | 

Religious book in Dutch without title printed in Delft by “Cornelis 
Henric, Lettersnyder.” A punch-cutter believed to be the son of the 
1496 Henrick, the letter-cutter of Antwerp. Type, Gothic of St. 
Augustin Flamand character. 

Hans Schénsperger (the younger), Augsburg, adopts a type which is 
held to be unmistakable Fraktur. From about this period, Schwa- 
bacher and Fraktur develop as two distinctly different designs of the 
Germanic type. 

Daniel Hopfer, Augsburg, designs fine title-page for a sermon, AIN 
SERMON, by Martin Luther. Title in large ornamental Gothic on white 
in oblong panel. Oblong wide and deep frame of border-design, white 
floriations and forms on black ground. Hopfer is one of the book 
decorators who brought splendor to the black and white printed page 
in this period. 

Adam Petri, Basle, prints STADTRECHTE UND STATUTEN DER STADT 
Frerpurc. Illustrated with woodcuts of the city’s coat of arms and its 
patron Saints from drawings by Hans Holbein. Another example of 
love for ornament in print extending to formal legal documents. See 


1507. 


[93] 


1521 


io20 


622 


1524 


eS 


1525 


Be 8) 


1520 


Ss 


Simon de Colines prints Boethius, ArrrHMetica, folio. Ornamental 


initials and fanciful use of rules. 


Richard Pynson, England, prints Henry VIII, AsserTI0 SEPTEM SACRA- 
MENTORUM, quarto. Type from Swiss foundries (Froben). Border and 
initials copying those of Hans Holbein. A celebrated book. Second 
edition 1522. Pollard says Pynson obtained from Froben some 
borders and other material by Hans Holbein, with important effect 


on English book illustration. 


Melchior Lotter, Wittenberg, prints Das NEwE TESTAMENT DEUTZSCH. 
The first (so-called September issue) of Martin Luther’s version. II- 
lustrated with woodcuts of which those depicting the Apocalypse are 
partly by Hans Cranach. 


About this time Venetian printers begin to differentiate the capital 
letters Uand V. See 1595. 


Publication of Albrecht Diirer’s famous Roman capitals, drawn on 
geometrical principles, as expounded by him in the text. See 1509, 
Da Vinci; 1529, Tory; 1537, Serlio. See following paragraph for 
description of book. 


Unknown printer in Nuremberg, Germany, probably Hieronymus 
(Jeronymus) Andrea, better known as Formschneyder (the engraver 
who cut Diirer’s drawings in wood), issues Albrecht Diirer, UNTER- 
WEYSUNG DER MESSUNG MIT DEM ZIRCKEL UND RICHTSCHEYT. First issue 
of Diirer’s earliest work on the use of the compass-divider and other 
draughting instruments. See 1528. Type, rugged Gothic of Fraktur 
design. One of the earliest types of undoubted Fraktur character. 


John Froben, Basle, prints Pliny, Hisroria Munpt, folio, illustrated 
and decorated by Hans Holbein. 


Johann Petreius, Nuremberg, issues specimen sheet of types. See 14.86, 
T5015 1502: 


Geofroy Tory prints a Book of the Hours, ornamented and illustrated 
by himself. Roman type. Equalling the great Pigouchet productions 
in quality, but wholly different in style, being Renaissance in spirit. 
Draughtsmanship and wood-engraving so good that it needs no embel- 
lishment, though like all Books of the Hours it was intended for hand- 
coloring. One of the treasures of the Morgan Library is a copy on 
vellum splendidly illuminated. 


[94] 


1526-1534 Many editions of the Tory Book of the Hours, one by Tory himself 


1526 


adh 


1527 


a 


1528 


1528 


1529 


1529 


in 1530 in smaller format, another by Simon Du Bois in Lettre Batarde 
with differing borders, others by Colines and by Tory’s successors. 
Fourteen known editions altogether, many with borders and other 
ornament not attributable with certainty to Tory. 


Richard Pynson, England, prints CHaucer complete. 


Robert Estienne, Paris, prints Erasmus, Siten1 Avcrprapis, believed to 
show first use of Estienne printer’s mark designed by Tory—olive tree 
with some branches spreading, others falling. Motto “Noli altum 
sapere” (sometimes omitted). Tory’s Lorraine Cross signature (some- 
times omitted). 


Giunta press, Venice, prints Sigismondo Fanti, TRiomMpHo DI ForTuNA. 
A noblefull-page woodcutillustrationas title-page, with title in red on 
scroll within upper part of cut. 


Jacob Cromburger, Seville, Spain, prints Pulgar, EL Gran Capitan. 
Gothic type, woodcut borders, floriated initials white on black. “Fore- 
most printer of his period” in Spain. (Updike.) See 1539-1540. 


Hieronymus Andrea, better known as Formschneyder, Nuremberg, 
prints Diirer, Vier BUCHER VON MENSCHLICHER PRoporTION. Presswork 
completed after Diirer’s death by his friends and published by his 
widow. Type, rugged Gothic Fraktur. 


Christian Egenolff, Strassburg, prints Lanfrancus, KLEYNE WUNDART- 
ZNEI, one of his earliest known Strassburg productions. See 1530. 


Geofroy Tory designs Roman capitals designed on geometrical prin- 
ciples, and publishes them in Cuamp. FLEURY. See 1509, Da Vinci; 
Pee Durcrnns 2 7 Scrio: 

Geofroy Tory produces Cuamp FLEuRY. Small folio. Roman type. 
Woodcut illustrations, borders and other ornament. Notable for 
pages showing designs of Roman capitals. Among much fanciful 
and even fantastic matter, text discusses “invention of antique letters, 
antique letters drawn in just proportion, and letters both Latin and 
French.” The term “antique” meant Roman letters, and the book 
inspired a resuscitation of that letter in French typography which 
starting with Roman type (1470) had quickly become predomina- 
tingly Gothic. Cuamp FLEuRY was printed by Gilles de Gourmont, first 
printer of Greek in Paris. Typography not noteworthy. Esteemed 
today only for its woodcuts and its curious literary content. 


[95] 


1529 


T3529 


1530 


1530 


1530 


1534 


ron 


1536 


1536-1540 


aya) 


1537 


In Cuamp FLeury Tory refers to a letter cut by him for Jean Grolier. 
Various commentators, probably following Bernard, credit him with 
cutting Italic used by Colines in 1528 and Roman used by Colines and 
Estienne about 1531. Evidence is slight and open to much doubt. 


Simon de Colines, Paris, prints CompENDIUM VERITATUM and DecrETA 
ProvinciaLis. Two fine books, with excellent typography and master- 
ful use of the large initials, white with floriated design also white, on 


black “grible” ground. 


Geofroy Tory appointed King’s Printer, Paris. Usually referred to 
as first of the line. ‘Title had been conferred on Jacques Le Rouge in 
fifteenth century, but there had been no successor before Tory. The 
books printed by him from 1530 to his death in 1533 are important 
for decoration, not for typography. Allin Roman type. 


Christian Egenolff, printer, starts type-foundry in Frankfort, Ger- 
many. Later conducted by Egenolff-Berner and the Luther family of 
type-founders who produced type for early American printers. 


Christian Egenolff, Frankfort, prints IN abventum D. Caro. V, etc., 
a poem by Micyllus greeting the Emperor in name of city. Believed 
to be Egenolff’s first Frankfort print. 


Christian Egenolff, Frankfort, prints Brste in a Germanic type which 
is definitely of Schwabacher character. 


Simon de Colines, Paris, prints Orentius, QuADRANS ASTROLABICUS. 
Fine title-page, framed with wide border of ornate designs in white on 


pebbled (grible) background. Pictorial panels. 


Simon de Colines, Paris, prints Ruel, De Natura Stirpium, preface in 
distinguished Italic after Antonio Blado of Rome. Roman capitals in 
Aldine manner. Text, large size Roman of Italian character. Fine in- 


itials by Geofroy Tory. 


About this period Claude Garamond, Geotroy Tory’s pupil, credited 
with having cuta number of types. Some authorities give 1540 as date 
of cutting Caractéres de Université, in four sizes of Roman and Italic. 


Sebastian Serlio, Italian architectand later Royal Architect for Francis I 
of France, designs Roman capitals on geometrical principles. 
Christian Egenolff, Frankfort, prints THEsauRus PAUPERUM. A popular 


book of medicines. Rich title decoration and border, containing David 
and Bathsheba in woodcut by Hans Sebald Beham. 


[ 96 | 


r539 


Eo L540 


P5359 


1541 circa 


1544 


1544 


1545 


1546 


1551 


1555 circa 


Whitchurch and Grafton, England, print Cranmer’s English Brae. 
Type, English Blackletter. 


First press in New World. Johann (Juan in Spanish imprints) Crom- 
burger, of Seville, Spain, kin to Jacob (see 1527), obtains exclusive 
privilege to print in Mexico. Establishes press in city of Mexico, pre- 
sumably through his foreman Juan Pablos, also termed Paulus in some 
records. General modern opinion is that Pablos printed first book in 
1539: Breve y MAs Compenpiosa DoctTrINA CHRISTIANA EN LA LENGUA 
MEXICANA E CASTELLANA. Some commentators hold that various un- 
dated books precede this. A recent European treatise declares that the 
first book in Mexico (and thus the first book in America) was printed 
in the Cromburger shop in 1537: a “spiritual ladder to Heaven”? de- 
votional book translated into Spanish from Latin. 


Colophon of Docrrina Curistiana: A honra y gloria de Nuestro 
Sefior Jesu-christo, y dela Virgen Santissima su madre, fue impresa esta 
Doctrina Christiana por mandado del Sefior don Fray Juan de Zumar- 
raga, primer obispo desta gran ciudad de Tenuchtitlan, Mexico desta 
Nueva Espafi, y a su costa, en casa de Juan Cromberger, afio de mill 
y quinientos y treinte y nueva quarto. 


Claude Garamond cuts his Royal Greek types. (Grec du Roi.) 


Robert Estienne, Paris, prints Eusebius, PraEPARATIO EvANGELICA, 
folio, in Garamond’s Royal Greek type. 


Simon de Colines, Paris, prints Orentius, QuaDRATURA Circutt. Title- 
page almost duplicating that of Orentius of 1534, but lacking pictorial 
panels. 


Jean Grolier becomes Treasurer-General of France and retains office 


until his death in 1565. 


John Day, English printer, starts punch-cutting and type-founding to 
supply his own office. 


Robert Estienne, King’s Printer for Greek in Paris, after many troubles 
with ecclesiastical censors, departs for Geneva and prints there till circa 
1559: 

Christopher Plantin of Tours, France, begins printing in Antwerp, 
Belgium, founding press which continues under his son-in-law Jean 
Moeretorf (Latinized to Moretus) and descendants for 312 years. 
(What is now Belgium was then part of Spanish-ruled Netherlands.) 


[97] 


1556 


1558 


1558 


1559 


1559 


1560 


1560 


1561 


1561-1570 
1562 


1563 


1563 


Jean de Tournes I, Lyons, prints Louise Labe, Euvres. Typographic 
title in panel, framed by border composed of type ornament. Text 
pages freely decorated with typographic headbands and tail-pieces, and 
interesting combinations of type ornament used to ornament blank 
pages. 

Guillaume Morel, Paris, successor to Adrianus Turnebus as King’s 
Printer for Greek, prints Basilii, Conciongs DE Vira, octavo. Head- 
bands and initials attributed to Geofroy Tory. 


Jean de Tournes I, Lyons, France, prints Brstia Sacra, 16mo. Text, 
delicate Roman, double column. Prologues in Italic probably cut by 
Robert Granjon. Choice illustrations, decorations and initials. 


Christopher Plantin, Antwerp, printsawork superbly illustrated, com- 
memorating funeral of Charles V in Brussels. 


John Day, London, prints Cunningham, CosMoGRAPHICALL GLASsE. “A 
landmark in English book production.” Type, vigorous Italic. Wood- 
§ P yPe, vig 


cut initials, ornamental title-page. 


Jean de Tournes I, Lyons, France, prints L’ Hisrorre ET CRONIQUE DE 
MessirE JEHAN Froissart. Red and black title-page, vignette in fine 
woodcut. 2 volumes. Imprint: Ian de Tournes, Imprimeur du Roy. 


Michael Vascosan, Paris, prints Paschalius, ELocrum. Handsome, ex- 
tremely simple Roman title-page, purely typographical, without rules 
or other ornament. Text a powerful, elegant large Italic. Elaborate 
woodcut initials. 


Valentin Geyssler, Nuremberg, issues type-specimen sheet. See 1486, 
1525, 1567, 1592. 
Robert Estienne II, King’s Printer in Paris. 


Paul Manutius, son of Aldus, prints in Rome Theodoret, IN Vistongs 
Dani is, folio. ‘Type shows approach to forms familiar today. 


Jean de TournesI, Lyons, prints CaLeNpiER Historia. Red and black. 
Charming woodcutsfor each month. No other decoration except typo- 
graphical ornament for headbands and tail-pieces. 


John Day prints Fox, Acres anp Monuments or THESE LATTER AND 
Perittous Days. Folio. Type, Blackletter. Illustrated with wood- 
cuts, many full-page, interesting historically, not artistically. This is 
the first edition of the famous Fox Book of Martyrs. Complete ex- 
amples are accounted among the rarest books in the English language. 


[98 | 


1564 


1567 


1570 


rae a 


1572 


1578 circa 


1583 


1584 


1584-1585 


1585 


1587 
1590 


1592 


First issue of Martin Luther Brie with the woodcuts by Joast Amman, 


Siegmund Feyerabend, etc. Dim Gantz Hey ice Scurirt, TEuTscH, 
Frankfort. 


Christopher Plantin, Antwerp, issues type specimen, INDEX, sIVE SPECI- 
MEN CHARACTERUM CHrIsTOPHORI PLANTINI showing 41 specimens. 
(Plantin had types and punches from many founders and printers— 
Garamond, Granjon, Colines, as well as drawing on Netherlands type- 
founders and his own foundry.) 


First edition of Euclid in English. John Day, Euclid, ELEMEnts oF 
GEOMETRIE. 


John Day, England, prints Roger Ascham, ScHotEMasTER. Interesting 
use of typographic flowers. Type, firm, flowing Italic, good Roman 
and Blackletter. Large floriated initials. 


The great Plantin Polyglot Bible completed. Brstta Sacra Poty- 
GLoTTA, 8 volumes, folio. Latin, Greek, Hebrew and Chaldee, with 
Syriac in New Testament. Editions on vellum and paper. Itis believed 
that less than 1000 copies were printed. Offered in an English cata- 
logue, 1794, for 14 pounds, 14 shillings. 


Robert Granjon, French type-cutter, called to Romeand works under 
Cardinal de Medici on Roman and Oriental types. Establishes type- 
foundry for the Vatican. 


First Elzevir press. Set up by Louis Elzevir in Leyden, Spanish Nether- 
lands. 


Jean de Tournes IT, Lyons, prints La Vita et Meramorrosso. IIlustra- 
tions by Bernard Salomon. Italic type ascribed to Robert Granjon. 


In Lima, Peru, is established the second press in America. First book 
probably Docrrina CurisTIaANa, printed by Antonio Ricardo. See 
1539-1540, first press, Mexico. 


University Press, Oxford, England, begins work. 
Stampa Vaticana established in the Vatican, Rome, by Sixtus V. 


Vatican press, Rome, prints Brsiia Sacra Vutcatae. A splendid title- 
page of purely typographic character without ornament. Red and 
black. Folio. 


Egenolff-Berner type-foundry, Frankfort, Germany, issues elaborate 
type-specimen sheet containing among others Granjon Greek and 


[99] 


ie): 


1595-1616 


Italic and Claude Garamond Roman. Gustav Mori says this is oldest 
type-foundry specimen sheet in the world. Based on assumption that 
specimen sheets of Ratdolt (1486), Petreius (1525), Geyssler (1561) 
and Plantin (1567) were not to sell type, but simply exhibits to book 
buyers. Title of Egenolff-Berner sheet: SpEcIMEN CHARACTERUM SEV 
‘TyporuM Prosatis, etc. 


Shakespeare first quarto (Venus and Adonis). Rough Roman types, 
poor typography, poor printing. See 1623. 


Louis Elzevir introduced distinction between i and j and between u 
and vin lower case. See 1524. 


[ 100 | 








SOs AL = => a Sy HAS SB A aN 
nid BIN AnrOnrs _— © Se BGs RY 


FOr 





A CHRONOLOGY OF PRINTING 


XVII CENTURY 
CONTEMPORARY WITH AMERICAN COLONIAL PRINTING 


1605 Juan de la Cuesta, Madrid, Spain, prints first edition (first part) Don 
Quixote. Second part, same printer, 1615. Quarto. Rough Roman 
and Italic. See 1780. 


1610 Stampa Vaticana ana Tipografia Camerale, Rome, Italy, are united. 
1616 George Leopold Fuhrmann, Nuremberg, issues type-specimen sheet. 
1623 Shakespeare first folio. Text, Roman type, double column. Names of 


charactersin Italics. Second folio 1632. (Issued in facsimile by Methuen 
and Company, London, 1909, rg10.) Important solely as literary 
treasure, not as example of printing. Dr. Rosenbach, the American 
book buyer, paid 6100 pounds for the Burdett-Coutts copy at the sale 
in 1922. 


1625 Bonaventura Elzevir, son of Louis, and Abraham, a nephew, form a 
partnership and begin publication of classics in r2mo. Characterized 


by copper-plate title-pages, compact typography, limited margins. 


1628 Stampa Vaticana, Rome, Italy, issues specimen book: INpicE DE Car- 
ATTERI, CON L’ INVENTORI, & NOMI DI ESSI, ESISTENTI NELLA STAMPA VATI- 
CANA & CAMERALE. | 


1634 Bonaventura and Abraham Elzevir print Sallust, Catrina, one of the 
good examples of the famous 12mo Elzevir classics. They ran to ex- 
tremes of merit, some unimportant as examples of typography or 
printing. 

1635 Elzevir press prints Caesar, OPERA, a scarce example of the 12mo series, 
well printed with many woodcuts and folding maps. One of the good 
Elzevirs. Printed in Leyden. 


1635 Elzevir 12mo Terence, CoMoEDIAE SEx, one of the fine editions, beauti- 
ful typography, presswork in red and black. Printed in Leyden. 


1636 Elzevir 12mo ViraIL, accounted one of the scarce Elzevirs, if not the 
scarcest, with exception of the Parrissier Frangais. Held to rank 
in quality with the Terence and the Cagsar. 


[ ror | 


1637 


1638 


1638 


1638 
1638-1639 


1640 


1640 


1640 


164.2 


1642 


1642 


1643 


Star Chamber decree limits number of letter founders in England to 
four. Reimposed and made more severe, 1644, 1662. Restricts and 


degrades printing for along period. 


The Rev. Jesse Glover, transporting a wooden press from England to 


America, dies at sea. 


First press in North America. Stephen Daye sets up Glover press in 
Cambridge, Massachusetts. 


Louis Elzevir III establishes press in Amsterdam. 


First printed product in North America. Stephen Daye (also spelled 
by himself ““Day”’), Cambridge, Massachusetts, prints THE FREEMAN’s 
Oat (broadside) and AN ALMANACK FOR THE YEAR 1639, calculated 
for New England. By Mr. Pierce, mariner. No copies extant. 


Imprimerie Royale du Louvre (Typographia Regia) created by Louis 
XIII and Cardinal Richelieu. Revival of French printing follows. 


First book printed in North America. First English book printed in 
all America. Stephen Daye, Cambridge, Massachusetts, prints THE 
WHOLE Book or Psatmgs (known as the Bay Psatm Book). Octavo, 
147 leaves, not paged. Rough Roman type. Composition and press- 
work very poor. Many errors typographical and orthographical. Punc- 
tuation particularly bad. Accounted by collectors the most valuable 
specimen of American printing. Only ro copies known. 


Imprimerie Royale, Paris, under direction of Sebastian Cramoisy, prints 
first book, Ds Imrratione Curisti, folio. Garamond’s Roman Carac- 
téresde]’Université. Copper-plate vignettes by Nicolas Poussin of Italy. 


Stephen Daye prints what is supposed to be earliest American book- 
plate. Square border of type ornament, framing name and date in 
Roman capitals of poor design: STEVEN DAY. JANUARY 11. 
1642. 


Imprimerie Royale, Paris, prints Richelieu, Les Princrpaux Porncts 
DE LA Foy CaTHoLique DEFeNnbus. A sumptuous work, in Garamond’s 
Roman and Italic, large size. 


Elzevir press, Leyden, produces Cicero, Opera in 10 volumes, 32mo. 
A good edition, engraved title-pages, portrait, etc. 


Stephen Daye, Cambridge, Massachusetts, prints A List OF THESES AT 
THE COMMENCEMENT OF HarvARD COoLLEGE. Printed similar list in 


[ 102 | 


1644 


1645 


164.5 circa 


1646-1648 


1648 
1648-1658 


1649 


1650 


1651 


1652 


1654 


previous year, also Caprrat Laws or MassacuuseTts Bay, but no copies 
have been found. 


Stephen Daye supposed to have printed Sprttinc Boox. No copy 
known. 


Stephen Daye, Cambridge, Massachusetts, prints AN ALMANACK FOR 
THE YEAR 1646, by Samuel Danforth of Harvard College. Only copy 
known is fragmentary. 


Stephen Daye, Cambridge, Massachusetts, prints A DECLARATION OF 
FORMER PASSAGES AND PROCEEDINGS BETWIXT THE ENGLISH AND Nar- 
roweGanseTs. ‘This is the last Stephen Daye printing recorded. Only a 
few copies known. 


Matthew Daye, Stephen’s son, prints on Stephen Daye press. 1646, 
AN ALMANACK FOR THE YEAR OF OUR Lorp 164.7 by Samuel Danforth. 
1647, AN ALMANACK FOR THE YEAR 1648. 1647, second edition of 
Tue WHOLE Book oF Psatmgs, with merely a few changes in spelling 
and punctuation, only two copies known. 1648, THE Books oF THE 
GENERAL LAWEs AND LIBERTYES CONCERNING THE INHABITANTS OF Massa- 
CHUSETTS, no copy known. 1648, SALEM CaTECHISM, no copy known. 


Louis Elzevir, Amsterdam, prints Historra NATURALIS BRasILaE. Folio. 


Samuel Green prints on Stephen Daye press. First product AN ALMA- 
NACK FOR THE YEAR 1649. 


Samuel Green, Cambridge, Massachusetts, prints A PLATFORM OF 
Cuurcu Discir.ine, by Richard Mather: AN ALMANACK FOR THE YEAR 
1650. 


Samuel Green, Cambridge, Massachusetts, prints Roxsury CaTECHISM 
and SrverAL Laws AND OrvErs. No copies known. 


Samuel Green, Cambridge, Massachusetts, prints THE Psatmes, Hymns 
AND SPIRITUAL SONGS OF THE OLD AND New ‘TESTAMENT. Only one copy 
known, in New York Public Library. 


Samuel Green, Cambridge, Massachusetts, prints THE SUMME oF CER- 
TAIN SERMONS UPON GENESIS: 15, 6, by Richard Mather. Quarto. 59 
pages. Few copies survive. 


Daniel Elzevir removes his press to Amsterdam (where he prints to 
1680). Establishes type-foundry under management of famous Dutch 
engraver Christoffel van Dijk. (Also spelled van Dijck.) See 1681. 


[ 103 | 


1654 


1655-1666 


1655 circa 


1656 


1657 


1657 


LOSG 


1658 


1658 


1663 


Samuel Green, Cambridge, Massachusetts, prints John Eliot, Inp1an 
PRIMER oR CaTECHIsM, supposed to be first book printed in New Eng- 
land in Indian language. Language of Massachusetts Indians, printed 
in English characters. No copies known. 


Louis Elzevir II and Daniel publish Latin classics in 8vo. 


Samuel Green, Cambridge, Massachusetts, prints AN ALMANACK FOR 
THE YEAR 1656; THE Book or Genesis and THE GospEL or MATTHEW, 
both translated into the Massachusetts Indian language by John Eliot 
(no copies known); Gop’s Mercy by Charles Chauncey. 


Samuel Green, Cambridge, Massachusetts, prints AN ALMANACK FOR 
THE YEAR 1657; SPIRITUAL MILK FoR BosToN BaBIEs IN EITHER ENGLAND 
by John Cotton. Latter is most famous of New England catechisms. 
One copy in New York Public Library, bought for $400 in 1894. 


Samuel Green, Cambridge, Massachusetts, prints A FarEwELL Ex- 
HORTATION TO THE CHURCH AND People oF DorcuesTeR by Richard 
Mather; Srverat Laws anp Orpers; Verses by John Wilson; THE 
WATERING OF THE OLIVE PLANT IN Curist’s GARDEN by John Fisk. Few 
copies survive. 


The great Brian Walton Polyglot Brsxz is issued in London, England, 
6 volumes, folio. Latin, Greek, Hebrew, Arabic, Samaritan, Chaldee, 
Syriac, Persian, Ethiopic. Thomas Roycroft, printer and publisher. 


Imprimerie Royale, Paris, prints a great folio with copper-plate orna- 
ment and illustration, Hisrorre DE L’ EMPIRE DE CONSTANTINOPLE. 


Samuel Green, Cambridge, Massachusetts, prints AN ALMANACK FOR 
THIS PRESENT YEAR 1659; A Few Psacms IN Metrg, translated into the 
Massachusetts Indian language by John Eliot. (No copy known. ) 
This ends list of printings known to have been done actually on the 
Stephen Daye press. 


Harvard College orders an additional press and types from England 
to enable Samuel Green to produce John Eliot’s Bratz in the Indian 
language. 

Samuel Green and Marmaduke Johnson, Cambridge, Massachusetts, 
print the Inp1An Bis.s, translated into the language of the Massachu- 
setts Indians by the Reverend John Eliot. Quarto. Title: The Holy 
Bible: containing the Old Testament and the New. Translated into 
the Indian Language, and Ordered to be Printed by the Commissioners 
of the United Colonies in New England, At the Charge and with the 


[ 104 ] 


1663 
1664 


1665 
1666 


1668-1672 


1669 
1669 


1672 


Consent of the Corporation in England for the Propagation of the 
Gospel amongst the Indians of New England. Indian title-page: 
Mamusee Wunneetupanatamwe U p-Biblum God Naneeswe Nukkone 
Testament kah wonk Wusku Testament. Printed “‘in full faced bour- 
geois on brevier body, new type.” Eliot’s version of Psalms of David 
in metre, Wame Ketoohomae Uketoohomaongash David, bound with 
it. About 2000 copies printed. About thirty copies of complete Bible, 
and about fifteen copies of New Testament only, are known. 


William Bradford born, England. 


Samuel Green and Marmaduke Johnson print Baxter, CaLL To THE 
UnconverteD, translated by Eliot into the Massachusetts Indian 
language from Richard Baxter’s English edition printed in London 
in 1657. One thousand copies printed. Until recent years it was be- 
lieved that no example had survived. In 1925, at sale of Royal Society’s 
books by Sotheby and Company, London, a copy was purchased by 
the American book buyer Dr. Rosenbach at the sensational figure of 
6800 pounds, the record price for any Americana. Believed to be the 
only copy in the world, and is a presentation volume from Governor 
Winthrop. Octavo, 5 7% inches by 3% inches. Bound in blue-gray 
boards, parchment back. Imprint: Printeuoop nashpe Samuel Green 
kah Marmaduke Johnson. 


Nicholas Nicholls issues first type specimen in England. 


Marmaduke Johnson, Cambridge, Massachusetts, prints on Harvard 
College Press, John Eliot’s Inpian Grammar Becun. Few copies 
known. 

Dr. John Fell, Dean of Christ Church (later Lord Bishop of Oxford, 
England), personally and through agents buys types, many thousand 
matrices and punches in Holland, and brings them to England. Also 
engages Dutch letter-founders. 


Louis and Daniel Elzevir print French Brste, 2 volumes, folio. 


An edition of John Eliot’s INpran Primer, presumably printed by 
Marmaduke Johnson. 32mo. 64 leaves unnumbered. Only one copy 


known. 


Dr. John Fell presents Dutch types, matrices and punches to Oxford 
University Press. F airly well established that this material represents 
product of Christoffel van Dijk and Dirck Voskens of Amsterdam. 


[ 105 | 


1675 


1681 


1682 


1683 


1685 
1685 


1685 


1686 


1686-1692 


1687 


1687-1688 


1688 


Daniel Elzevir’s Amsterdam edition of St. Augustine, CONFESSIONEs, 
one of the r2mo books considered among the best. 


Daniel Elzevir’s widow issues broadside specimen offering for sale 
“proofs of types cut by the late Christoffel van Dyck.” 


In sale of Dr. Francis Bernard’s library, London, 22 Caxtons bring 
less than 6 pounds. 


Joseph Moxon, England, type-founder and printer, produces Vol- 
ume II of Mecnanick Exercisss. The first comprehensive textbook of 
type-founding, composition and printing. Describes, with many illus- 
trations, material and equipment used in printing, and gives detailed 
instruction for every printing process. Reprinted, in 1896, by Theo- 
dore De Vinne, for The Typothetz of the City of New York. 


William Bradford establishes himself as printer in Pennsylvania. 


William Bradford prints almanac for 1691, KALENDARIUM PENNSYL- 
VANIENSE Or AMERICA’S MESSINGER, AN ALMANACK by Samuel Atkins. 


Samuel Green, Cambridge, Massachusetts, prints second edition of the 
Reverend John Eliot’s Inp1an Biss. (See 1663.) Impression begun 
1680 with New Testament. 2000 copies printed. About fifty-five 
copies known. 


William Bradford, Philadelphia, Pennsylvania, prints AN EpIsTLE FROM 
Joun Burnyzat, afamous Quaker. (Quaker Library, London, has only 


known copy.) 


William Bradford does printing “for Pennsylvania, New York, New 
Jersey, Connecticut and Rhode Island.” 


Jacob Scheldt (Jacobus Scheltus), Hague, prints admiralty orders of 
the States General in Dutch. Type, a richly designed Gothic ascribed 
to Christoffel van Dijk. 


William Bradford proposes to the Friends’ Half Year’s meeting at 
Burlington, New Jersey, the printing of a Brstz in folio by subscrip- 
tion. Unsuccessful. 


William Bradford, Philadelphia, Pennsylvania, prints his first book, 
Tue Tempe or Wispo. A curious work in two parts, dealing of origin 
of “Heaven, Hell, Angels, Menand Devils, Earth, Stars and Element.” 
Also “the treatise of the four Complexions, With the Causes of Spirit- 
ual Sadness, etc.’”’ Also “A Collection of Divine Poems,” etc. Said to 


be the first book printed in Philadelphia. Quarto, 212 pages. 


[ 106 | 


1689 


1689 


1693 


1693 


1693 


1693 


1693 


1694 


1698 


Francois Didot born. Founder of the French family which contributed 
Francois Ambroise, Pierre Francois, Firmin, Pierre l’ainé, Henri, 
Léger, Didot le jeune and others to French type-founding, printing 
and publishing. See 1713. 


Cotton Mather, Boston, Massachusetts, publishes MemoraBLE Provi- 
DENCES RELATING TO WITCHCRAFTS AND Possessions. WITH A DiscouRSE 
ON THE PoWER AND MALICE OF THE DEVILS AND A DiscoursE oN WITCH- 
CRAFT. 75 pages. Followed in 1691 by another book on witchcraft, 
I 50 pages, and in 1692 by A FurtHER AccounT oF THE New ENGLAND 
Wircues, by Increase Mather, 50 pages. 


Benjamin Harris, Boston, Massachusetts, prints Cotton Mather’s 
famous work, THE WonperRs OF THE INvisiBLE WoRrLD, containing 
observations on the “Nature, the Number, and the Operations of the 
Devils,” also “terrible things lately done by the Evil Spirits,” and the 
narrative of a “late Outrage committed by a Knot of Witches in Swede- 
land.” Octavo. 


Philippe Granjean appointed royal type-cutter by Louis XIV for 
Imprimerie Royale (1692), assisted by Louis Luce, begins design of 
royal fonts, Romain du Roi, to be used exclusively by Imprimerie 
Royale. 


William Bradford appointed Royal Printer for Province of New York. 
Salary, 40 pounds a year. Holds office more than 50 years. 


William Bradford, New York, prints Circular Letter by Colonel 
Fletcher, Governor. In Dutchand English. Dutch imprint: GepRuckT 
TOT NrEwE YorKE, BY WILLIAM BRADFOoRDT, ANNO 1693. 


Oxford University Press, England, publishes its first type-specimen 
sheet. See 1668-1672, Fell. 


William Bradford, New York, prints Laws or THE PRoviNcE or NEw 
York and Laws AND CHARTERS OF THE City oF New York. Also a tract, 
SEASONABLE CONSIDERATIONS OFFERED TO THE GoOoD PEOPLE oF Con- 
NECTICUT. 


Abraham Boekholt, Amsterdam, prints Historie vAN BROER CorNELIS 
ADRIAENSEN. Type, compact Gothic designed by Christoffel van Dijk. 


[ 107 | 





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A CHRONOLOGY OF PRINTING 


XVIII CENTURY 


CASLON AND BODONI PERIOD—ENGLISH AND AMERICAN PRINTING 


1700-1720 


1702 


1702 


1704 


1706 
1709 


ips 


LOD 


1712 


703 


1714-1718 


Reign of Dutch types in England. “More Dutch type than English.” 


Imprimerie Royale, Paris, issues specimen sheet showing first of 


Romain du Roitypes. See 1693. 


Imprimerie Royale, Paris, prints MeparLies (Medals commemorating 
the principal events in the reign of Louis XIV). A magnificent folio. 
Copper-plate ornament and borders. Illustrated with copper-plate 
designs showing the medals. ‘Text and medal illustrations of each page 
held together by borders of special design for each. Type, Granjean’s 
Roman and Italics (the Romain du Roi begun in 1693). 


John Campbell, Boston, Massachusetts, issues THe Boston News- 
Letter, half-sheet, pica type, folio. First issue for week April 17-April 
24. Continued for 72 years. Considered first newspaper in British 
North America, though preceded by Benjamin Harris’ Pusiick Oc- 
CURRENCES, 1690, which was forbidden after one issue. 


Benjamin Franklin born, Boston, Massachusetts. 


William Bradford appointed by New York Legislature to print Acts 
OF ASSEMBLY. 


William Bradford, New York, prints Laws or New Jersey. Imprint: 
Printer to the Queen’s most Excellent Majesty for the Province of 
New Jersey. Enlarged edition, 1717. 


Timothy Green, New London, prints A Conression or Farry (the 
Saybrook platform of creed and church discipline). First book printed 


in Connecticut. 

William Bradford establishes his son Andrew Sowle as partner in the 
Philadelphia print-shop. 

Francois Didot founds Didot establishment in Paris. During succeed- 
ing century and longer, it isa powerful influence in typography and 
printing. 

Andrew Sowle Bradford (son of William) prints Laws or PENNsyL- 
VANIA. 


[ 109 | 


1716 


EAE, 


1718 
1718 


ing 


FES, 


T7419 


L72t 


Ly2n 


1722 


1723 


1724 


1725 


mc) 


William Caslon opens shop for silver-chasing and engraving book- 
binders’ stamps. Had reputation for engraving on guns, an art highly 
esteemed in those days of beautifully ornamented firearms. 


James Franklin, Benjamin’s brother, returns from England with press 
and types to print in Boston. 
Benjamin Franklin apprenticed to his brother James. 


James Franklin, Boston, Massachusetts, prints A Sermon by Thomas 
Prince. Thework on which Benjamin Franklin began tolearn printing. 


James Franklin issues Boston Gazette. Half sheet, foolscap, folio. 
Date of first issue December 21, 1719. Second newspaper in British 
North America. 

T. Fleet, Boston, Massachusetts, prints MoTHER Goosr’s MELODIES FOR 
CuiLpren. (Thomas Fleet began printing 1712-1713.) 


Andrew Sowle Bradford (William’s son), Philadelphia, Pennsyl- 
vania, issues AMERICAN WEEKLY Mercury. First newspaper in Penn- 
sylvania. Half sheet. Discontinued after 1746. Date of first issue, 
December 22,1719. Benjamin Franklin later was compositor here for 
a time. 

Benjamin Franklin peddles printed ballads written by himself, Boston, 
Massachusetts. 

Benjamin Franklin, Boston, Massachusetts, contributes articles to NEw 
ENGLAND Courant. Edits newspaper temporarily. 


William Caslon, London, cuts fonts of Roman, Italic and Hebrew for 
William Bowyer’s sumptuous edition, 3 volumes, folio, of John 
Selden’s Works. Published 1726 by subscription through group of 
booksellers. Depicationin large Roman letter. ADDRESSTO THE READER 
in large Italic. Lirz in great primer Roman. English and Latin text 
in Roman. 

Benjamin Franklin removes to Philadelphia, Pennsylvania. Obtains 
work in Samuel Keimer’s print-shop. 

Benjamin Franklin buys type in London. Works there at printing. 
Publishes DissERTATION ON LipeRTY AND NEcEssITY, PLEASURE AND 
PAIN. 

William Bradford establishes New York GazettE, weekly. Only news- 
paper in New York till 1733. 

Philadelphia, Pennsylvania. Benjamin Franklin becomes manager of 
Samuel Keimer’s print-shop. 


[ 110 | 


1728 


1728 circa 


1728 


1728 


1728 


LTR, 


Faia 


Ta 


Sian 


1734 


1735 


LAW 


John Michael Fleischman, Nuremberg, begins cutting type for Dutch 
founders. See 1734. 


William Bradford publishes engraved PLAN of THE City or New York. 
(Reproduced in 1836 by the Corporation of New York and in 1849 
by order of Congress. ) 


Benjamin Franklin and Hugh Meredith open printing office in Phila- 
delphia, Pennsylvania. 


Tue History oF THE Rise, INCREASE AND PROGRESS OF THE CHRISTIAN 
PEOPLE CALLED Quakers. Printed in Philadelphia, Pennsylvania. Im- 
print: Samuel Keimer. Completed by Franklin and Meredith. 


Philadelphia, Pennsylvania. Benjamin Franklin founds Tue SaturDay 
EVENING Post. 


Benjamin Franklin, Philadelphia, Pennsylvania, proprietor and editor 
of PENNSYLVANIA GAZETTE. Prints, anonymously, NaTuRE AND NEcES- 
SITY OF A PAPER CURRENCY. 


Poor Ricuarp’s ALmanack begins publication. By Benjamin Franklin, 
under pen-name “Richard Saunders.” Continues for about 25 years. 


John Pine, England, prints Horace, the entire text, like the ornament 
and illustrations, being from engraved copper-plates. An expression 
of a prevailing taste which at that time was affecting typography and 
illustration in England and on the Continent. 


William Caslon, London, issues his famous type-specimen sheet. 
Roman, Blackletter, Italic, Coptic, Armenian, Samaritan, Arabic, 
Hebrew, Greek, ancient Saxon, ancient Gothic. (Facsimile of 1738 
copy, identical save for change of address to “Chiswell street,” pro- 
duced for printers and print-users by Mergenthaler Linotype Com- 
pany, 1923.) 

John Michael Fleischman (see 1728) becomes chief punch-cutter for 
Enschedé type-foundry, Haarlem. 


Christopher Sauer establishes press, Germantown, Pennsylvania. 
(Frankfort, Germany, records show that he obtained some or all of his 
types from Frankfort type-foundry of Luther family, successors to the 
Egenolff foundry.) 

Pierre Simon Fournier (Fournier le jeune) formulates his point sys- 


tem for types to replace appellations Pica, etc., for denoting body 
sizes. Later gives elaborated and perfected description in MANUEL 


[x11] 


1738 


TD 


£739 


1740-1771 


1742 


1742 


1742 


ad 


t/a 


1748 


1750 


TYPOGRAPHIQUE, 2 volumes. See 1766. Subsequently, Francois Am- 
broise Didot, Paris, adopts 72 points to the French inchas his standard 
of type measurement. 


Christopher Sauer, Germantown, prints Calendar for 1739, German 
language, Gothic type. A complete example preserved in the Munici- 
pal Library, Frankfort, Germany. 


First book printed in German characters in America. ZIONITISCHER 
Weyraucus Hier printed by Christopher Sauer, Germantown, 
Pennsylvania. 


William Bradford prints THE AMERICAN ALMANACK FOR THE YEAR OF 
CHRISTIAN ACCOUNT, 17309. 


Louis Luce, France, royal type-cutter in succession to Philippe Gran- 
jean, designs series of Roman and Italic. Taller than Granjean types 
and condensed. Acquired by Imprimerie Royale, 1773. 


Benjamin Franklin, Philadelphia, Pennsylvania, prints THE Cuar- 
TERS OF THE PROVINCE OF PENSILVANIA AND CiTy OF PHILADELPHIA. 


William Bradford II establishes Tue PrnNsyLvaAnia JOURNAL AND 
WEEKLY ADVERTISER. (Under control of him and his son more than 
60 years.) Famous for device of divided serpent and motto “Unite 
or Die.” 


Pierre Simon Fournier, Paris, publishes specimen book, MopELEs DEs 
CARACTERES DE L’ IMPRIMERIE. One of the fine type specimens. Printed 


by Jean Joseph Barbou. 


Second Bret printed in America. In German, Christopher Sauer, 
Germantown, Pennsylvania. Gothic long primer type. See 1663 for 
first Brace (Indian language). See 1776 for second edition Sauer BIBLE. 


Imprimerie Royale, Paris, completes “royal fonts” begun 1693 by 
Philippe Granjean. Roman and Italic, body and initials, 82 fonts. 


Community in Ephrata, Pennsylvania (Die Bruderschaft in Ephrata), 
prints book for which it makes paper, ink, leather binding and en- 
eraved rules and initials. Der BLuTIGE SCHAUPLATZ, ODER MARTYRER 
SPIEGEL. Said to be largest book printed during Colonial period. Edi- 
tions in both Dutch and German. Printer, Peter Miller. 


John Baskerville, Birmingham, England, establishes type-foundry. 
His type-designs influenced by Caslon purity but powertully express- 


ing his own inspiration for improved English printing. Represents 


[112] 


1752 
E753 
aod. 


1755 circa 


E757 
1757 


L757 


ES 
£75 /24759 


1758 


1758 


1760 


1761 


1762 circa 


a return to the original masters, who were both printers and type- 
designers. His books set a mark for English and American printers, 
and establish permanent tendencies in the typography of all nations, 
particularly on the Continent. 


William Bradford dies, go years old. 
William Bradford II prints Laws or New JERSEY. 


William Bradford, Philadelphia, Pennsylvania, grandson of first printer 
in Philadelphia and New York, prints THe Lire anp Datu or RIcHEs 
AND POVERTY. 


Johann Breitkopf, Leipzig, designs and engraves punches for type that 
for a long while are eminent in German printing. 


Benjamin, Franklin publishes Way To WEALTH. 


John Baskerville, Birmingham, England, prints Viret, royal quarto. 
His first book. It establishes his European reputation. Title-page, 
widely spaced capital letters. Running heads, Italic capitals. Latin 
text, great primer Roman. 


James Parker and Company, New Haven, Connecticut, print Some 
Remarks. (Benjamin Franklin partner in “‘ Company.’’) 


John Baskerville issues type-specimen sheet. See 1762. 


Cottrell and Jackson are important English type-founders in this 
period. The Sheffield type-foundry of Stephenson, Blake & Com- 
pany, the direct descendants of the old English letter foundries, 
traces its ancestry to them on one side, while on the other it runs to 
founders of the early sixteenth century. 


John Baskerville, Birmingham, England, produces series of types. 
Prints Milton, ParapisE Lost. Octavo, 2 volumes. 


Horace Walpole’s private press, The Strawberry Hill Press, prints 
Walpole, Fucitive Pieces, with type equipment from Caslon foundry. 


B. Mecom, Boston, Massachusetts, prints THe INTEREST oF GREAT 
BriTAIn ConsipERED. Nephew of Benjamin Franklin who financed 
this printing office. 

John Baskerville prints Book or ComMon Prayer, tall octavo. Orna- 
mental type border around each page. Fine example of his work. 
John Baskerville, Birmingham, issues two broadside specimen sheets. 
(Two others in 1775.) 


lent | 


1763 


1764 


1764. 


1766 
1766 


1768 


1768 


1771 


1772 


Lae 


de. 


William Caslon, London, issues first type specimen in book form in 
England. 


Joseph Fry, physician in Bristol, England, turns to type-founding and 
produces type under Baskerville influence. Later, after Caslon revival, 
the Fry foundry issues series similar to that design. In 1795 issues 
specimen sheet showing return to the Baskerville designs. 


John Baskerville prints Aesop, SeLect Fastzs, octavo. Generally cited 
as most beautiful of Baskerville productions. 


William Caslon dies. 


Pierre Simon Fournier, France (usually called Fournier le jeune), 
completes ManuEL TypoGRAPHIQUE, a monument to labors of more 
than 25 years in design and making of type. A mass of information on 
printing, particularly on type and type-founding. Comprehensive 
showing of types and ornaments. Printed by him in 2 volumes (1764- 
1766). See 1737. 


Giambattista Bodoni of Saluzzo, Italy, establishes his press, Stamperia 
Reale, in Parma, under patronage of Duke of Parma. Prints in Greek, 
Latin, Italian, French, German and English, with much work in other 
languages. Eminent as printer and type-designer. 


Enschedé type-foundry, Haarlem, issues PROEF VAN LETTEREN, a Speci- 
men book showing Netherland Gothic types of the fifteenth century 
and succeeding types. 


Giambattista Bodoni, Parma, Italy, produces specimen book, FREc1 
E Mayjuscotg, octavo. Types and decorative material. His first show- 
ing of capital letters and of borders. One of the prized specimen cata- 
logues of world. See 1780 to 1813. 


Christopher Sauer II, Germantown, Pennsylvania, establishes first 
regular American type-foundry, with equipment from Germany for 
German types and English script. 


Joachin Ibarra, Madrid, greatest Spanish printer of eighteenth century, 
prints SaLtust, Spanish and Latin. Called the “stupendous Sallust” by 
Bodoni. Large, massive Roman, powerful, clear Italic. Engraved title- 
page and full-page plates. Engraved initials and head and tail-pieces. 


John Baskerville prints Shaftesbury, CHARACTERISTICKS OF MEN, octavo. 
Esteemed among his best. Sallust, Opgra, folio, showing his great 
primer Roman letter. These were among his last books. Died, 1775. 


[114] 


1776 


1780 


1780 circa 


1780 


1781 


1782 


1783 


1783 


1784-1789 


1785 


1785 circa 


Christopher Sauer II, Germantown, Pennsylvania, prints second edi- 
tion of BrsLe, in German. Bria, pas Ist, Diz Hetiice Scurirt, ALTES 
uND Neuss. Rarer than first edition because during Revolutionary 
War most copies were destroyed. 


Giambattista Bodoni, Parma, prints Anacreon, Opgs, 16mo. Wholly 
in Roman capital letters. Copies printed on various papers, a Bodoni 
practise in making choice small editions. 


Thomas Bewick’s wood-engraving begins to exert strong influence on 
British book art, and finally directly on type-designs. 


Joachin Ibarra, Madrid, prints the Royal Academy edition of Don 
Quixote, “the finest Don Quixote produced in Spain and perhaps any- 
where.” 4 volumes, quarto. Roman and Italic type designed by Gero- 
nimo Gil for Biblioteca Real. Illustrated with copper-plates. 


Stephen Daye wooden press (brought to Cambridge, Massachusetts, 
1638) set up in Westminster, Vermont, after various migrations to 
print THe VERMONT GazETTE or GREEN Mountain Post Boy. First 
newspaper published in Vermont. 


First English Bipte in America. THe Hoty Brsie, coNTAINING THE OLD 
AND New TEsTAMENTS, 2 volumes, printed by R. Aitken, Philadelphia. 
Third Bible in America, counting Eliot Indian Bible (1663) and first 
Sauer edition; or fourth Bible, counting both Christopher Sauer edi- 
tions (1743, 1776). 

Francois Ambroise Didot, Paris, begins printing series of French 
classic authors. 7 


Stephen Daye wooden press set up in Windsor, Vermont, to print THE 
VERMONT JOURNAL AND UNIVERSAL ADVERTISER. (Press now preserved 
in State Capitol, Montpelier, Vermont.) 


Under imprint of Société Littéraire Typographique, Kehl, Paris, pub- 
lishes complete edition Voltaire’s works. Two editions: 70 volumes, 
8vo, 92 volumes, 12mo. Printed with Baskerville’s types which had 
been sold in France after his death. 


Giambattista Bodoni, Parma, prints Anacreon, Opss, in 8vo. Wholly 
in Roman capital letters like the 16mo Anacreon of 1780. 


Isaiah Thomas, Worcester, Massachusetts, imports “best types obtain- 
able” from Caslon, Fry and Wilson foundries, England, with good 
assortments of ornament. Books printed by him 1785 to 1810, though 


[115 | 


1785 


1786 


1786 


1786 


1788 


1789 


1789 


1789 


1790 
1790 


1790 circa 


they hardly sustain Franklin’s praise, “Baskerville of America,” mark 
decided improvement in American printing. 

Isaiah Thomas, Worcester, Massachusetts, issues A SPECIMEN OF IsAIAH 
Tuomas’s Printine Tyres. “Chiefly manufactured by that great Ar- 
tist, William Caslon, Esq., of London.” 

William Martin, said to have learned his trade under Baskerville, begins 
punch-cutting for George Nicol, London publisher, who with W. 
Bulmer issues series of luxurious books, many being illustrated with 
Bewick woodcuts. 

Shakspeare Press established in England to print famous BoyDELL 
SHAKSPEARE. Folio, 9 volumes, first volume 1792, final volume 1802. 
Printed by W. Bulmer & Company, London, for John and Josiah 
Boydell, Georgeand W. Nicol, from types of W. Martin. Types, paper 
and ink specially made. Large, powerful Roman and Italic, arranged in 
Bulmer’s “grand manner,” which in turn was inspired by grand man- 
ner of Baskerville and Bodoni. BoypELL SHaAKsPEARE relies almost 
wholly on typography for effectiveness. 

Francois Ambroise Didot, Paris, prints Essar De FaBLes NouvELLES. 
In small Roman type cut by Firmin Didot. 

Giambattista Bodoni, Parma, prints his first MANUALE. 360 pages. 
Shows a range of 100 Roman characters. 

Giambattista Bodoni, Parma, prints Tasso, AMINTA, quarto. A sump- 
tuous Bodoni. Considered one of the great examples of his manner 
with large books, in which he excelled. It is said that he thought this 
his best work. 

Isaiah Thomas, Worcester, Massachusetts, prints Sewall, Carmina 
Sacra, considered his best book. 

“Citoyen”’ Colas, Paris, issues broadside DEPOT DEs CARACTERES DE 
BASKERVILLE, Offering his types for sale. Later, Baskerville types are 
used to print official journals of French Republic during the Revo- 
lution. 

Benjamin Franklin dies, Philadelphia, Pennsylvania. 

Thomas Bewick’s famous woodcut plates for QuapRuPEDs, published 
in Newcastle, England. 

Benjamin Franklin Bache, grandson of Benjamin Franklin, issues 4- 
page specimen sheet (undated) showing Caslon as well as types cast in 
Philadelphia from matrices of Fournier, Paris. 


[ 116 | 


1791 


1791 


1791 


1791 


1791 


F103 


1793-1803 


RE 


1796 
1796 


1796 


1796 


Adam Mappa, a Hollander, brings Dutch type-founding equipment 
to New York and casts type, chiefly for printing in Dutch and German. 


Fifth Bible printed in America. Isaiah Thomas, Worcester, Massa- 
chusetts. 


Isaac Collins, Trenton, New Jersey, prints THe Hoty Bisie, conTain- 
ING THE OLD AND New Testaments. First Bible printed in New Jersey. 
Considered sixth Bible printed in North America, the Thomas Bible 
of 1791 being held to precede it. 


Giambattista Bodoni, Parma, prints folio edition of Horacz, first of 
a fine series of classics. Follows in 1793 with his famous folio Virei. 


Giambattista Bodoni, Parma, prints Anacreon, Opes, small octavo, 


which has been called a “typographic gem.” 


Giambattista Bodoni, Parma, prints Gray, Poems, in English. Quarto. 
One of his magnificent printed books, not because of ornament (of 
which it has none) but purely by virtue of typography, arrangement 
and printing. Large Roman type. Every volume acquired by book- 
lovers as soon as off the press. 


G. W. Panzer, Nuremberg, compiles his 11-volume contribution to 
the study of the incunabula: ANNALEs TyPoGRaPHict. One of the fun- 
damental works for bibliophiles and typographical students. See in- 
dex to chronology, Incunabula. 


Shakspeare Press, W. Bulmer printer, issues Porms by Goldsmith and 
Parnell. Illustrated with woodcuts by Thomas Bewick. One of the 
best examples of typography harmonizing with the Bewick blocks. 
Types by William Martin. 


W. Bulmer, London, prints Somerville, Cuase, with Bewick woodcuts. 


W. Bulmer & Company print for John and Josiah Boydell, London, 
History oF THE River THames. Folio, 2 volumes. Large Roman type 
by W. Martin. One of the noted Bulmer productions. 


Archibald Binny and James Ronaldson establish type-foundry in 
Philadelphia and buy up many existing small foundries and equip- 


ments. 


Alois Senefelder, Munich, after long experimentation with pewter 
plates, zinc, porcelain and other materials, writes with specially made 
fatty ink on Solenhofen limestone, and on etching fat-free portion of 
the stone with weak acid, obtains a printing surface in delicate relief. 


[am] 


1796 


ny, 


Ae 


1798-1799 


TOD 


Gerhard Fiihrer, prior of Fiirstenfeld monastery, begins the work of 
making a complete catalogue of incunabula in the Bavarian monas- 
teries and cloisters. See index to chronology, Incunabula. 


Thomas Bewick’s woodcuts for BritisH Birps, published Newcastle, 


England. A book prized for its plates, not for its typography. 


Shakspeare Press, W. Bulmer printer, issues Milton, Porticat Works, 
folio, illustrated. Another of the luxurious large type Bulmer books. 
Type, William Martin’s Roman and Italic. 


Pierre Didot, Paris, issues editions in folio, VireiL, 1798, Horace, 
1799. Each limited to 250 copies. Large, brilliant Roman types cast 
by Firmin Didot. Highly decorated with engravings of designs by 
Percier, Gérard and Girodet. Intended to surpass the Bodoni folios. 


Alois Senefelder, after long labors with printing from lithographic 
stone treated to give a mechanical printing surface in relief, discovers 
that fatty ink will make a chemical printing surface, which does not 
need to be etched into relief. Almost simultaneously, he discovers that 
he can print by off-set. 


[118 | 





1800 


1801 


1802 


1806 


1807 


1809 


1810 


18to 


1813-1818 


A CHRONOLOGY OF PRINTING 


XIX CENTURY 


(To 1890) 


Continental ardor for Greek and Roman antique (begun in preceding 
Louis XVI period) at its height. For many years, particularly in 
France, types, illustration and book-design follow the mode. 


Pierre and Firmin Didot (third generation of these famous French 
printers) print Racing, folio, 3 volumes, 500 pages each. Pronounced 
by French jury “the most perfect typographical production of any 
country or age.” T'ype expressed “antique” taste of the time. Heavy 
lines accentuated, thin lines and serifs reduced to hairlines. Italic so 
finished as to seem almost engraved. Published at 1200 francs. Edi- 
tion, 250 copies. 

Giambattista Bodoni, Parma, prints Dre L’ INFLUENCE DES SCIENCES, 
octavo. Good example of his French printing. 


Giambattista Bodoni, Parma, printsa Lorp’s Prayer in more than 150 
languages and dialects. One of his good title-pages. 


Fry and Kammerer, Philadelphia, Pennsylvania, print’ THE CotumBIAD, 
a grandiose epic by Joel Barlow. Among the first really pretentious 
American books. Greatly admired in its period. Text, great primer 
Roman; notes, small pica Roman. Finely designed Italic. Illustrated 
with engravings, and printed under the influence of the Bodoni, Bas- 
kerville and Bulmer “grand manner.” Some of the types probably cut 
by Archibald Binny. 

First specimen book of an American type-foundry. Binny and Ron- 
aldson, Philadelphia, Pennsylvania, show a large series of ornament. 
The Charles Whittinghams (uncle and nephew), establish their Chis- 
wick Press (founded 1789), at Chiswick, England. A great influence 
for improved art of the book. 

Isaiah Thomas, Worcester, Massachusetts, writes and prints History 
oF PRINTING IN AMERICA. 2 volumes. Octavo. Reprinted for Ameri- 
can Antiquarian Society in 1874 by Joel Munsell, Albany, New York. 
Giambattista Bodoni dies. Leaves unfinished his great MANUALE Tipo- 


GRAFICO. His widow completes it. 


[ 119 | 


1819 


1821 


1824 


1826-1838 


1827 


1833 


1833 


1834 


1834 


Pierre Didot (son of Francois Ambroise Didot) prints SPECIMEN DEs 
Nouveaux CaRACTERES DE LA FONDERIE ET DE L’ IMPRIMERIE DE PIERRE 
Divot L’aine. Octavo volume of type specimens. Designed to rival the 
productions of Bodoni, with whom he had set himself to compete. A 
historic volume for modern typography. An exposition of the change 
that had come to French types. Meticulously precise, brilliant, sharp. 
William Pickering, England, publishes his first volume. Nota printer, 
but good taste in typography and book-design made him powerful for 
revival of English printing. Imprint, Aldine dolphin and anchor. 
First series of proceedings and debates in Congress to be contempo- 
raneously reported and published. RecisTER or DEBATES IN CONGRESS, 
14. volumes in 29 books or parts. Began December 6, 1824, with second 
session of Eighteenth Congress and continued to October 16, 1837, 
end of the first session of Twenty-fifth Congress. 

The great world-work on early printing. Dr. Ludwig Hain, Stuttgart, 
compiles his huge list of incunabula which has served the world ever 
since as the fundamental catalogue: REPERTORIUM BIBLIOGRAPHICUM, IN 
QUO LIBRI OMNES AB ARTE TYPOGRAPHICA INVENTA USQUE AD ANNUM I500 
TYPIS EXPRESS] RECENSENTUR. See index to chronology, Incunabula. 


William Pickering publishes THe Treatyse or FyssHINGE WITH AN 
ANGLE. Printed in types of John Baskerville. 


Alexander Wilson and Son, letter-founders, Glasgow, Scotland, issue 
type-specimen book, quarto, showing Scotch face. 


Tue ConcressIonaL Gioze. Begins with first session of Twenty-third 
Congress, December 2, 1833 (duplicating RecistER or DEBATES IN 
Coneress for Twenty-third and Twenty-fourth Congresses and first 
session of Twenty-fitth Congress) and ends with end of Forty-second 
Congress, March 3, 1873. Complete in 10g quarto books. See 1824, 
1834, 1873. 

Publication of first volume of ANNALs or Concress. Last volume pub- 
lished 1856. Inall 42 volumes in 51 books or parts, containing debates 
“compiled from authentic materials” of the first seventeen Congresses 
and first session of Eighteenth Congress closing May 27, 1824. Vol- 
umes 1 and 2 (4 books) report debates and proceedings in First Con- 
gress, March 4, 1789, to March 4, 1791. See 1824, 1833, 1873. 
William Morris born, Walthamstow, Essex, England. Destined to 
bring revival of classic principles of book art to entire world, par- 
ticularly to England, Germany and North America. 


[ 120 | 


1842 


1844-1845 


1845-1919 


1853 


1857-1868 


1859 circa 


1867 


1871 


1873 


Joseph-Ernest Buschmann, Antwerp, founds printing and publishing 
house which encourages the new Belgian literature of the period by 
producing popular books profusely illustrated with woodcuts. See 
1880. 


Revival of Caslon type. The Whittinghams, Chiswick Press, England, 
resurrect William Caslon’s types, fallen into oblivion during a period 
of inferior printing, to print for Oxford University a fine edition of 
Juvenac. Owing to delay, the Whittinghams use it for THe Diary oF 
Lapy WitLoucuey which thus appears first. William Pickering helps 
to revive its use in England and the United States. 


The Reverend C. H. O. Daniel, Provost of Worcester College, Eng- 
land, establishes Daniel Press. Begun at Frome and continued at 
Oxford. 


William Morris and Edward Burne-Jones enter Oxford together — 
an association important for modern art of the book, and for elevation 
of arts and crafts generally. 


J. W. Holtrop, La Haye, compiles Monuments ‘TypoGRAPHIQUES DES 
Pays-Bas au 15. Siicie. With facsimiles and analytical studies of the 
type forms in the Netherland incunabula. An important and still au- 
thoritative early contribution to the principle of comparing types of 
different presses and of different books and thus arriving at definite 
groupings and developments of incunabula type. See index to chro- 
nology, Incunabula. 


William Morris, Edward Burne-Jones, Dante Gabriel Rossetti, 
William Fulford, Ford Maddox Brown and others organize Morris 
and Company, for creating mural decoration, architectural carving, 
glass staining, metal work, jewelry, furniture, in order to beautify craft 


product. 

The Plantin Press (Plantin-Moretus), Antwerp, ceases work after 312 
years of printing. 

William Morris buys Kelmscott Manor, an Elizabethan house on 
upper Thames River. 


Tue ConcressionaL Recorp supersedes THE CoNGRESSIONAL GLOBE. 
First series of proceedings and debates of Congress to be officially 
reported, printed and published directly by the Government. Issued 
daily during sessions. Begins with Forty-third Congress and up to 
1925 comprises 425 quarto books. See 1824, 1833, 1834. 


[121] 


1876 


1877 


1878 


1880 


1880 


1882 


1882 


1883 


1884 


CIrca 


Edouard Moretus, descendant of Jean Moretus (son-in-law and suc- 
cessor of Christopher Plantin), deeds famous printing establishment, 
Hotel Plantin-Moretus, to city of Antwerp as typographical museum 
and monument. 


Daniel Press, England, revives use of Fell type, in a reprint of seven- 
» bn ) yPe, p 

teenth century sermon. F ifty copies from “type cast for the Im- 

pression from the matrices given the University by Dr. John Fell.” 


Marder, Luse and Company (Chicago type-foundry), Chicago, Ili- 


nois, begin to produce type on point bodies. 


Max Klinger, Munich, decorates and illustrates Apuleius, AMor UND 
Psycug, published by Theodore Stroefer Kunstverlag. One of the first 
German books indicating a tendency to conscious book unity. Type, 
specially designed Roman. All facing pages treated as one with wood- 
cut border specially designed for each. Tail-pieces, headbands and 
other ornament in woodcut in thorough unity with typography . Il- 
lustrated with 46 etchings. Still considered one of the good books. 


The printing house founded in Antwerp by Joseph-Ernest Busch- 
mann in 1842 becomes official printer for the Plantin-Moretus 
Museum. 


Max Rooses, Antwerp, produces CuristopHE PLANTIN IMPREMEUR 
ANVERSAIS, in 2 volumes. One of the important Plantin-Moretus Mu- 
seum publications. 


Bonhoure, Paris, commissions Daniel Vierge to illustrate Don Pasio 
DE SEGOVIE, producing one of the comparatively few good books of 
that period. Drawings photo-engraved on zinc. Vierge’s right hand 
becomes paralyzed when only part of the illustrations are finished. 
Learns to draw with left hand and later completes full series for Pel- 
letan. See 1902, Modern Period in France. 


Launette, Paris, publishes Les Quatre Firs Aymon, illustrated with 
photo-engraved cuts of illustrations in line by Eugéne Grasset, who 
later becomes a leader in the new art of the book, contributing decora- 
tive style to book-illustration, as well as types and ornament. 


Grolier Club, New York, founded for “the literary study and pro- 
motion of the arts pertaining to the production of books, including the 
occasional publication of books designed to illustrate, promote and 
encourage those arts.” Becomes one of the important influences for 


[122 | 


1884 


1885 


1885 


1885 


1886 


1886 


1886 


book art in America. Founders, William L. Andrews, Theodore L. 
De Vinne, A. W. Drake, Albert Gallup, Robert Hoe, Brayton Ives, 
S. W. Marvin, Edward S. Mead and Arthur B. Turnure. 


First publication of Grolier Club: A Decreg or Star CHAMBER Con- 
CERNING PrintinG. Reprinted from the first edition by Robert Barker, 
1637. Printed by DeVinne Press on Holland paper, old style types of 
great primer size, with Dutch capitals for the Italic letters. Limited 
to 148 copies. 


Second publication of Grolier Club: RusAtyAt or OMaR KuayyAm. 
(Fitzgerald translation.) Medium octavo. Printed on Imperial Japan 
paper, by the De Vinne Press, in old style type of “the size known as 
English.” Headbands in gold and colors from Persian models in Owen 
Jones’ GRAMMAR OF ORNAMENT. Limited to 150 copies. 


Third publication of Grolier Club: TRANSACTIONS OF THE GROLIER CLUB. 
Demi-quarto, printed on laid paper by Gilliss Brothers and Turnure. 
Cover, Lalanne charcoal paper on loose boards. Limited to 740 copies. 


Professor Otto Hupp, Munich, produces the first of the celebrated 
Mincuener Kacenpar series. Magnificently decorated with colored 
woodcuts engraved from pen drawings of Germanic coats of arms. Fine 
initials and other ornament. ‘Type, Fraktur. Published by G. ]. Manz, 
Miinchen and Regensburg. 


United States ‘Type-F ounders’ Association appoints committee on 
point system and finally adopts as unit a “point” gained by dividing 
the pica into 12 equal parts. England adopts point system, 1898. 


Fourth publication of Grolier Club: Washington Irving, A History 
oF NEw YoRK FROM THE BEGINNING OF THE WORLD TO THE END OF THE 
Durcu Dynasty, etc. Two frontispieces by George H. Boughton, 
etched by F. Raubicheck; two etchings by Henry C. Eno; drawing 
of Stuyvesant vase by Will H. Drake; headbands and tail-pieces de- 
signed by Howard Pyle and Will H. Drake; halt-titles and initials by 
Will H. Drake. Etchings of frontispieces in three states. Headbands, 


tail-pieces and initials printed in brown. Printed by De Vinne Press 


with Elzevir types. 2 volumes, medium octavo. Bound in boards, 
covered with orange colored paper. Limited to 175 copies. 


Fifth and sixth publications of Grolier Club: A Lecrure on Boox- 
BINDING AS A Fine Art, by Robert Hoe. Demi-quarto, 63 plates by 


[123 | 


1887 


1887 


1889 


1889 


1889 


1889 


E. Bierstadt. Historic Printinc Types, a lecture by Theodore L. 
De Vinne. Demi-quarto, 110 pages, facsimiles of types. Both printed 
on Holland paper by De Vinne Press. From this period to 1925 the 
club issues a great number of publications of permanent influence and 
value—reprints of famous or curious books and texts, works on the 
various arts of the book, catalogues and bibliographies. 


George W. Jones with Robert Hilton founds Tur British PrinTER 
at Leicester, England. Conducts class of nearly 100 students in typog- 
raphy in Edinburgh in 1889, and a class of nearly 200 in London, 
1889-1890. 


Charles Draeger, Paris, founds printing establishment whichas Draeger 
Fréres becomes one of the great European institutions, representing 
the efforts and traditions of four generations. Removed in 1900 to 
Grand-Montrouge (Seine). 


Joseph Pennell publishes Pen Drawinc anp Pen DrauGHTsMEN. In 
1895 publishes Mopern ILLustration. As artist, writer and instructor 
he exercises powerful influence for improved printing and betterment 


of graphic arts generally. 


Chiswick Press, England, prints for William Morris THe House oF 
THE Wo rFincs and THe Roots or THE Mountains. Though he had 
been writing and publishing poetry and romances, mostly of medieval 
flavor, for more than thirty years, it was the work of seeing these two 
romances through the press that definitely turned his thought toward 
printing and book-making. 


George W. Jones, after much educational work for English printing, 
begins business in the Ward of Farringdon Without, London, the 
ward in which Wynkyn De Worde set up his press on the death of 
Caxton. See 1924, the Modern Period in England. 


Grolier Club issues Richard de Bury, Puitozrston. Three volumes, 
medium quarto. Printed on special paper, “white antique,” by De 
Vinne Press. First volume contains the Latin text of the first edition. 
Second and third volumes contain English translation by Professor 
West, with introductory matter and notes. Bound in parchment. 
Black end-papers stamped in design of red and gold. Headbands, 
chapter ornaments and initials designed by James West, Charles M. 
Jenckes and George Wharton Edwards. Profusely rubricated. Large 
capitals illuminated in gold. Limited to 207 copies. 


[124] 







= oo Yes kG) 
AD: 
A CHRONOLOGY OF PRINTING 


XIX AND XX CENTURIES 





THE MODERN PERIOD IN ENGLAND, FRANCE, GERMANY 
AND THE UNITED STATES 


COMPILER’S NOTE 


HE Chronology of Printing properly ends with the beginning of the Morris 

movement, the period between that date and the present not being in suf- 

ficient perspective for the impersonal attitude essential in chronological 
work. Selection of a few specific data from the great mass presented by modern 
book activity necessarily involves assumption of a function belonging to critic and 
Judge, not toa compiler. Professional friends admitted the correctness of this view, 
but still were of opinion that an attempt should be made. To attain approximately 
objective treatment, the compilation which follows has been made from the works 
of the various foreign writers who have described the modern period in England, 
France and Germany. Where the amount and nature of the material has compelled 
exercise of personal judgment, the effort has been to select such data as will best 
exemplify a general tendency, though they may not always be illustrative of the best 
achievements of a particular press. The survey confines itself largely to those books 
which because of limited edition are not accessible to many men. The omission of 
books issued by the regular publishers is not to be taken as indicating that the 
compiler has ignored them or fails to recognize that many of them are well worth 
inclusion in any work on modern book art. Their nature and number would have 
extended the survey into a bibliography, or else would have demanded an indefen- 
sibly personal method of selection. It will be observed that the presentation of the 
modern period is essentially different for each country. Under “France” illustra- 
tion is the running theme, under “Germany” it is typographical design, and under 
“England” it is the private press working without over-insistence on any one factor. 
This treatment is not a matter of the compiler’s choice. It is the nature of book-art 
development in each country. 


[125 | 





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A CHRONOLOGY OF PRINTING 


XIX AND XX CENTURIES 





THE MODERN PERIOD IN ENGLAND 


1891 William Morris founds Kelmscott Press, most celebrated of private 
presses of modern times. Between 1891 and 1896 (year of death) 
publishes 53 books (65 volumes) all in relatively small editions. First 
book from press, THE SToRY OF THE GLITTERING PLAIN. 


1891 William Morris, Kelmscott Press, prints Morris, PorMs By THE Way, 
with Golden type designed for THe Gotpen Lecenp then under 
production. Printed in red and black. Woodcut borders and initials. 


1892 William Morris, Kelmscott Press, prints THe GotpEen LEGEND with 
Roman font called Golden because of this book. Designed by Morris 
after Nicolas Jenson’s types of 14.70-1476. The design, as he said: 
“Tends more to the Gothic than does Jenson’s.”’ 


1892 William Morris, Kelmscott Press, prints Morris, THE DEFENCE oF GUIN- 
EVERE AND OTHER Poems. Printed with Golden type in black and red. 
Woodcut borders and initials. 


1892 William Morris, Kelmscott Press, prints Historyes or Trove with 
Troy type, following three ancient types, those of Schéffer of Mainz, 
Zainer of Augsburg and Koberger of Nuremberg. 


1893 William Morris, Kelmscott Press, prints THe ORDER or CHIVALRY in 
Chaucer type, a black letter similar to Troy type except in size. (Some 
of this Chaucer type used in Historyes or TROYE.) 


1894. George Allen and Company, London, publish Spenser, THe First 
Book OF THE FAERIE QUEENE, title-page, borders, decoration and illus- 
tration by Walter Crane, rendered in woodcut. 


1894 William Morris, Kelmscott Press, prints THe TALE oF THE EMPEROR 
CousTANs AND OF Over Sea. Translated by him from old French. 
Printed in Chaucer type in red and black. Decorative woodcut title, 
initials and other ornament. 


1895 C. H. St. John Hornby, London, establishes Ashendene Press, which 
during the ensuing thirty years produces many fine books. Caslon and 


ere 


1895 


1896 


1896 


1896 
1896 


1896 


1896 


1898 


Fell types used till 1902. Then adopts a type combining Roman and 
Gothic designed by Emery Walker and S. C. Cockerell. Modelled 
after Subiaco type of Sweynheym and Pannartz. 


William Morris, Kelmscott Press, prints Herrick, Poems. In Golden 
type, printed in black and red. Woodcut title, border and initial letters, 
Octavo. Limited to 250 copies. 


William Morris, Kelmscott Press, prints THE EarTHLy PaRaDisE in 
Golden type. Woodcut borders and initials. Printed in red and black. 


8 volumes, octavo, bound in full limp vellum. Limited to 225 copies. 


William Morris, Kelmscott Press, completes his last and greatest work, 
Tue Works or GrorFreY Cuaucer (known as The Kelmscott Chau- 
cer). Three years of planning and preparation, two years to print. 
Type, Chaucer Gothic, specially designed. Text two columns to page, 
bound together by borders, illustrations, frames, initials, and “initial 
words” of manyformsanddimensions. Illustrations (numbering eighty- 
seven) by Sir Edward Burne-Jones. Borders and initial letters designed 
by William Morris, engraved on wood by W. H. Hooper. More than 
a score of the “initial-word” plates by Morris. Ornamental initials 
throughout. Binding designed by Morris and executed in white pig- 
skin and silver clasps by Cobden-Sanderson bindery. (A copy sold at 
auction in New York, November, 1924, for $800.) 


William Morris dies at Kelmscott Manor, October 3, aged 62 years. 


Ricketts and Shannon set up Vale Press. Charles Ricketts (who had 
designed books before Morris set up Kelmscott Press) designs Vale 
type, similar to Morris’ Golden type, though Ricketts stood for the 
spirit of the Italian Renaissance rather than for the Gothic spirit which 
inspired Morris. Same type designed in smaller sizes used as the Avon 
face for Vale Press SHaKxspEarE. The three Vale presses, type, punches 
and matrices destroyed in 1904 when press ceases. 


First book by Vale Press. Milton, Earty Porns, Vale type. Decora- 
tion by Charles Ricketts. (Vale Press books composed and fully ar- 
ranged at Vale Press but printed by Ballantyne Press.) 


Walter Crane publishes Or THE DECORATIVE ILLUSTRATION OF Books 
OLD AND New. Illustrated with more than roo reproductions. 


Vale Press issues Keats, Porms. Woodcut borders, initials and orna- 
ment by Charles Ricketts. Octavo, 2 volumes. Limited to 217 copies. 


[ 128 ] 


1898-1903 


1900 


I9OI 


I9OI 


1902 


1902 


1902 


1902-1905 


#903 


Robert Proctor makes his important contribution to printing history: 
AN INDEX TO THE EARLY PRINTED Books IN THE British Museum. A 
“landmark” in the development and organization of type knowledge. 
Incunabula types arranged in groups, making possible comparative 
study of types used by the various early presses and permitting ascrip- 
tion of types in many books unidentified till then. See index to chro- 
nology, Incunabula. 

T. J. Cobden-Sanderson and Emery Walker set up Doves Press, Ham- 
mersmith, England. Design Doves type, following Jenson’s Roman 
closely, but with greater regularity of lines. Serifs square and some- 
times of “brickbat”’ shape, but less markedly so than in Morris Golden 
type. Doves Press books do not follow Morris in ornament (of which 
they have little or none), but achieve their style by arrangement of 
pages, with initial letters designed by Edward Johnston and Graily 
Hewitt as chief decoration. In many books these were lettered in by 
hand and illuminated in gold and color. 

C. R. Ashbee designs Endeavour type and Prayer Book type for his 
Essex House Press, London, later established in Chipping Campden, 
Gloucestershire. Roman type, not following early printers. Used in 
large size for King Edward’s Prayer Book, “one of the most ambitious 
ventures of any private press.” 

Vale Press issues Shelley, Pozms. Woodcut initials and border of pan- 
sies designed by Charles Ricketts. Small octavo, 3 volumes. Limited 
to 310 copies. 

Ashendene Press issues Dante, INFERNO. First use of the type specially 
designed by Walker and Cockerell. 

Vale Press issues Eccrestastes. Composed with King’s Fount types 
designed by Charles Ricketts. Printed in red and black. Imperial 
octavo. 

Vale Press issues Browne, Reticio Mepici. Woodcut border, vine leat 
motif, designed by Charles Ricketts, engraved by C. Keats. Imperial 
octavo. 

Doves Press issues Milton, Parapise Lost. Printed in red and black. 
Initials in blue and red by Graily Hewitt and Edward Johnston. Small 
quarto, 2 volumes. Limited to 300 copies. | 
Ashendene Press issues Dame Berner, A ‘TREATYSE OF FYsSHINGE WYTH 
AN ANGLE. Woodcut illustrations. Initials in red. Octavo. Limited to 


150 copies. 


[ 129 | 


E903 


LS: 


1903 
1993 


1904. 


1904. 


1904-1914 


1904-1925 


TOS 


Lucien Pissarro, Eragny Press (named after his birthplace in France), 
after previous printing with Ricketts’ Vale type, designs Brook type, a 
Roman of early Italian style. Prints series of books, mostly octavos, 
with border and other ornament and initials designed by himself and 
his wife. Initials usually red, borders white on black. Wood-engraving 
and printing done by him and his wife. Occasional illustration by 
others. Fine color printing on wood-blocks characterizes this press 
whose later works are richly ornamental. 


Vale Press issues THe Lire or BENVENUTO CELLINI. Border and initial 
letters designed by Charles Ricketts. Imperial octavo, 2 volumes. 
Limited to 300 copies. 


John Lane, London, issues AUBREY BEARDSLEY AND THE YELLOW Book. 


Doves Press issues Doves Brie. Described by Updike as “a master- 
piece of restrained style.” Printed in black, initials in red. Small folio, 
5 volumes, bound in full vellum. Printing completed 1905. Limited 
edition on hand-made paper. One of the “modern items” prized by 
collectors. 


BrBLioGRApPHy, last book issued by Vale Press, shows Latin text in Vale, 
Avon and King’s Fount types, all designed by Charles Ricketts. 


Eragny Press issues Milton, Arzopacitica. Text set in two columns. 
Printed in red and black. Full-page woodcut border. Large initial in 
red, many small ornamental initials and woodcut colophon. Designed 
by Lucien Pissarro. Quarto. Bound in boards decorated by Pissarro. 
Limited to 134 copies. 


Arden Press makes good use of Caslon types, and also shows the influ- 
ence of the Edward Johnston calligraphic teaching. 


Edward Johnston’s school of calligraphy creates an enthusiasm in 
Germany which, for a time, seems greater than that in England. 
Finally, however, it extends in England to a point where, in the dec- 
ade up to 1925, it inspires the training of school children in the 
“manuscript” or “print” hand in place of cursive writing. In 1924- 
1925 the movement shows signs of spreading in America. 


Montallegro type, designed by Herbert P. Horne, England, for Merry- 
mount Press, Boston, Massachusetts (D. Berkeley Updike). Cut by 
E. P. Prince, who cut types of Kelmscott and Doves Press and other 
private presses. 


[ 130] 


230% 


Ae Ly 


1908 


1908 


eae) 


1909-1914 


BOD 


1909 


nog 


Reigate Press, England, issues SurRREY AND Sussex (extract from 
Camden’s Britannia), title-page and opening pages designed by W. 
Bernard Adeney with initials and wide borders in woodcut medieval 
style. Type, Roman old style, following Caslon’s design with modi- 
fications. 


Herbert P. Horne designs Florence type. Following early Italian in- 
fluence in Roman letter. Used in Arden Press, Letchworth, England, 
for THE RoMaunt oF THE Rose; THe Lirtie Flowers or St. FRancIs; 
Swinburne, SONGs BEFORE SUNRISE; Stevenson, Porms, and VIRGINIBUS 
Puerisqug, and other books, many with chapter headings, headlines 
and initials in red. 


Frank Brangwyn illustrates Raleigh, THe Last Ficur of THE REVENGE. 
Black and white and color. 


Doves Press issues Browning, MEN AND Women. Printed in black and 
red. Hand-illuminated, ‘flourished in colored inks” by Edward 
Johnston. Small quarto, 2 volumes. Limited to 250 copies. 


Herbert P. Horne designs Riccardi Press Fount for Medici Society, 
England. Heavier than Florence design, and more severely Roman. 
Used for Horace, Marius THE EpicurREAN, SONNETS OF SHAKESPEARE 
and other works in limited editions. The Sonnets in 11 and 14 point 
capitals with border from Ratdolt and Pictor’s Aprranus. 


Riccardi Press illustrated quartos. THe Sone or Sones, 1909. THE 
THoucuts oF Marcus Aureius, 1909. Le Morte pD’ARTHUR, 4 
volumes, 1910-1911. EvERYMAN, 1911. THE CANTERBURY TALES, 3 
volumes, 1913. Theocritus, Bion anp Moscuus, 2 volumes, 1914. 
Type, Riccardi Press Fount. 


Doves Press prints WILLIAM CaxTon, a paper read before the Club of 
Odd Volumes, Boston, by George Parker Winship. Sumptuously 
printed and bound. Limited to 300 copies. 


Doves Press issues Shakespeare, THe Tracicat Historie of HaMLet. 
Printed in red and black. Initial capital in green applied by hand by 
Edward Johnston. Small quarto. 


Aubrey Beardsley designs title-page, embellishments and illustrations 
for Malory’s Kinc Artuur. Edition follows text as printed 1485 by 
William Caxton. Spelled in modern style, and set in Caslon style type. 
(Published by J. M. Dent and Sons.) 


[131] 


he Ne, 


eh bes 
1999 


1910 


Igi2 


aes 


1914 


1914 


eS Bagh 


1920 


1920 


1922 


Essex House Press prints Votuspa. Translation from the Icelandic 
Elder Vedda. Octavo. Limited to 100 copies. 

Doves Press ceases on retirement of Emery Walker. 

Ashendene Press issues DantE, complete works. Illustrated by C. M. 
Gere. In the type designed by Walker and Cockerell. Instead of 
printed initials, illuminated initials are applied in gold and color 
by Graily Hewitt. “The Dante ranks with the Doves Bible and the 
Kelmscott Chaucer—described as the ‘three ideal books of modern 
typography.’ ” (Updike.) 

Ashendene Press issues Vircit. Printed in red and black. Initials, 
ornament and rubrication applied by hand in red and blue. Royal 
octavo. Edition limited to 40 copies on vellum. 

Philip Lee Warner publishes for Medici Society, London, Charles 
Kingsley, THe Herozs. Printed in the Riccardi Press Fount by 
Charles T. Jacobi. Illustrations by W. Russell Flint. Lettering of title- 
page engraved after design by Miss M. Engall. Central ornament by 
Flint. Ten full-page illustrations in color. Simple outline initials. 
Board covers, buckram back. 

Ashendene Press issues Le Morte p’ArTHUuR. Another of the fine 
books, with rubrication and initials in gold and color by Graily Hewitt. 


Philip Lee Warner publishes for Medici Society, London, Tur First 
Book or Mosss. Printed in the Riccardi Press Fount by C. T. Jacobi. 
I]lustrations and title-page ornament by E. Cayley Robinson. Letter- 
ing of title-page by Miss M. Engall. Ten full-page illustrations in 
color, plates mounted on tint paper. Simple outline initials. Title- 
page in black and blue. Board‘covers, buckram back. Quarto. 

C. Lovat Fraser illustrates and decorates Pirates. Black and white and 
in color. 

A. W. Pollard completes his important work Earry ILLusTRaTED 
Books. See index to chronology, Incunabula. 

Ashendene Press issues Boccaccio. Printed in red, blue and black. 
Initials, rubrication and ornament by Graily Hewitt. 

Morland Press issues BooxpLates. Frontispiece from woodcuts in 
three colors. 69 woodcut illustrations by Frank Brangwyn, printed 
in black and white and tints. Quarto. 

Ashendene Press issues Spenser, THE FAERIE QUEENE. Text in double 
column. Printed in red and black. Woodcut initials of many sizes in 
red and blue. Colophon white on red. Folio. Limited to 180 copies. 


[ 132 | 


1922 


a Ka 


1923 


1924 


1924 


1924 


Beaumont Press issues Svetlov, THAMAR Karsavina. Illustrated by 
Claud Lovat Fraser, Randolphe Schwabe, A. P. Allinson and others. 
About fifty of the illustrations colored by hand. Small folio. 


Publication of Ctaup Lovar Fraser, with examples of his work re- 
produced in collotype and in line, articles by John Drinkwater and 
Albert Rutherston. 450 signed copies. Quarto. 


Beaumont Press issues Symons, ‘THE Caré Roya AND OTHER Essays. 
Title-page cut on wood and printed in colors. Woodcut vignettes and 
ornament designed by Randolphe Schwabe. Typography, binding 
and production by C. W. Beaumont. Octavo. 


Celebration in London of fiftieth anniversary in printing industry of 
George W. Jones, proprietor of the printing establishment The Sign of 
the Dolphin. One of the leaders in English printing revival. Governor 
of St. Bride Foundation Institute. Representative of the Federation 
of Master Printers of Great Britain and Ireland on the committee ap- 
pointed by the Lords of the Treasury to advise H. M. Stationery Office 
on the choice of types and modes of display in government printing. 
Representative of the Federation on the Industrial Art Committee of 
the Federation of British Industries. Member of the committee of 
the Royal Society of Arts on Book Production. Member of the L. C. 
C. Consultative Committee on Book Production, etc. 


Beaumont Press issues Constantini, THE Birtu, Lire AND DEaTH OF 
ScaramMoucu. Typography and binding by C. W. Beaumont. Cover- 
design by Randolphe Schwabe. Octavo. Limited to 310 copies. 


Ernest Benn issues Stanley Morison, Four Centurtss oF Fine Print- 
ING. Super folio. Over 600 collotype plates reproducing examples 
of printing from 1500 to 1914. Collotypes by Albert Frisch, Berlin. 
Printed by Walter Lewis, University Press, Cambridge, England. 
Limited to 390 copies. 


[133] 








1890 


1891 


1894 


1896 


1896 


1896 


A CHRONOLOGY OF PRINTING 


XIX AND XX CENTURIES 


THE MODERN PERIOD IN FRANCE 


Société Artistique du Livre Illustré, Paris, organized by Gérardin, 
Lepére, Tinayre, Moulignié, Bellenger, Dété, Paillard and other artists 
and wood-engravers, issues a series of monographs under Paris V1- 
VANT, protesting against the lowering of book art. 


Draeger Fréres, Paris, print TRENTE ET QuaRANTE, illustrated by H. 
Vogel, ornamented by A. Giraldon, etchings and engravings by Ver- 
doux, Ducourtioux and Huillard. 


Henri Beraldi, Paris, bibliophile and director of Société des Amis des 
Livres, helps toward regeneration of book art by calling on Auguste 
Lepére, then considered a revolutionary in illustration, to make his 
crayon drawings for woodcuts illustrating Paysaces ParisIENNES. A 
sensation of its time, followed in 1895 by Paris au Hasarp illustrated 
by the same artist. Two books that remain on record as distinguished 
exemplars of French book art of that period. 


Edouard Pelletan, Paris, establishes publishing house to bring back 
the typographical conception to the French book. Issues as introduc- 
tory publication Lz Livres, a manifesto expressing his views, following 
with LETTRE AUX BIBLIOPHILES and DEUXIEME LETTRE AUX BIBLIOPHILES. 
“Tn the annals of French book production, the name of Edouard 
Pelletan will be inscribed in letters of gold.” (Léon Pichon.) 


Edouard Pelletan issues his first book, Alfred de Musset, Les Nuits ET 
Souvenir. Portrait of Musset after David D’Angers, interpreted in 
woodcut by Florian. Illustrations, numbering with headbands, tail- 
pieces and full-page cuts more than one hundred, by A. Gérardin, 
engraved on wood by Florian. The first of his splendid title-pages in 
black and red with his publishing emblem in brown. Quarto and oc- 
tavo, with different typography for each. Printed by Maison Lahure 
on hand presses. Limited to 500 copies. 


Edouard Pelletan publishes Moreau, Les Petrrs ConTxs A MA SOEUR. 
Type, Didot 11 point. 63 illustrations by L. Dunki, engraved by 


[135 | 


1896 


1896 


1897 


1897 


1897 


1897-1899 


1899 


Clément Bellenger. Printed by Maison Lahure on hand presses. 
Limited to 350 copies. 


Edouard Pelletan publishes Villon, Les Batiapes. Type, old Roman 
of Dutch model from Deberny foundry, refined. ‘Title-page based in 
both typography and construction on fifteenth century book of Vil- 
lon’s period. Capitals at head of verses in red. 70 illustrations by A. 
Gérardin, engraved by Julian Tinayre. Printed on hand press by 
Maison Lahure. Limited to 350 copies. 


Edouard Pelletan issues L’Oarystis. Greek text with new translation 
into French by A. Bellessort, with a disquisition by Anatole France. 
Illustrations by Georges Bellenger, engraved by Froment. Quarto and 
octavo. Printed by Maison Lahure on hand presses. Limited to 350 
examples. 


Georges Peignot (G. Peignot & Fils, Paris), under his father, Gustave, 
and before death of latter in 1899, issues Grasset type, designed by 
Eugéne Grasset, with series of ornament. 


Beltrand, Florian, Froment and other wood-engravers, with the artists 
and engravers of Société Artistique du Livre Illustré (see 1890) form 
a group which issues L’Imacg, a review protesting against the tendency 
of the photograph and of photogravure to supplant the art of the illus- 
trator and the wood-engraver. 


Floury, Paris, issues DE La T'YPOGRAPHIE ET DE L’ HARMONIE DE LA PaGE 
ImpriMEE, an argument in favor of the William Morris principles in 
book-design. Executed by Charles Ricketts and Lucien Pissarro. 


Edouard Pelletan issues five books demonstrating his interest in illus- 
trationand engraving as wellas typography. Chateaubriand, Les AvEN- 
TURES DU DERNIER ABENCERAGES. Alfred de Vigny, SERVITUDE ET GRAN- 
pEuR Miiraires, 2 volumes. Alfred de Vigny, Les Drstinées. Alfred 
de Vigny, Sutty PrupHomMe. Jean Lorrain, La Manpracore. Show- 
inginall more than 225 illustrations by Daniel Vierge, Dunki, Georges 
Bellenger, Bellery-Desfontaines, Pille and Florian, engraved by F. 
and E. Florian, Clément Bellenger, Emile and Eugéne Froment and 
Julian Tinayre. Printed by Maison Lahure on hand presses (La Man- 
DRAGORE in color). Limited editions, 150 to 350 copies. 


The group of French artists and wood-engravers (see 1890, 1897) 
issue a series of charming small editions of authors, Les Minutes Par- 
ISIENNES, illustrated with woodcuts produced under joint direction, 


[ 136] 


1899 


1900-1902 


1900 


1900 


1900 


1900 


with typography, decoration and other details of the book arranged 
in harmony. The first book, Mrp1, in preface pleads the cause of the 
illustrator and the engraver, and warns that the photograph and the 
easy reproduction methods attending it are dangerous to French art. 


Auguste Lepére is represented by more than forty woodcuts in La 
Cité et L’ Ice Saint-Louis, one of the best of Les MINUTES PaRISIENNES. 


The Peignot type-foundries (Peignot & Fils, Paris) issue new typo- 
graphical designs, among them Auriol Roman and Italic type designed 
by Georges Auriol and a face with series of ornaments designed by 
Bellery-Desfontaines, a leader of the school which holds that book- 
illustration should be decorative of the book as well as illustrative of 
the text. 


Imprimerie Nationale, Paris, begins production of the monumental 
Histoire DE L’IMPRIMERIE EN FraNcE au XV’ ET au XVI’ Stéciz, by 
Anatole Claudin. Prefatory text in Garamond’s characters, text in 
Granjean’s Romain du Roi, large size, fonts cast specially for this 
work. Produced under guidance of Arthur Christian, director of the 
establishment, and completed before his death in 1906. “Probably 
the finest book on printing that has ever been published.” (Updike.) 


Edouard Pelletan issues two volumes, Renan, PRizRE suR L’> ACROPOLE 
and Nodier, Histoire pu Caren DE Brisqurt (with Lerrre A JEANNE 
by Anatole France). Illustrations by Bellery-Desfontaines and Stein- 
len, engraved by Emile and Eugéne Froment, Ernest and Frédéric 
Florian and Deloche. Printed in colors by Maison Lahure on hand 
presses. Limited respectively to 400 and 127 copies. The Renan is 
held to be best illustrative of the work of this period. 


Edouard Pelletan issues JEaN GuTeNBERG. Illustrations by Georges 
Bellenger, Bellery-Desfontaines, Steinlen and Frédéric Florian, en- 
graved by Emile and Eugéne Froment, Ernest and Frédéric Florian 
and Deloche. Quarto. Printed by Maison Lahure on hand presses. 
Limited to 113 copies. Also issues in this year Les Syracusaings, illus- 
trations by Marcel Pille, engraved by Froment. Quarto. Printed by 
Maison Lahure on hand presses. Limited to 350 copies. 


Imprimerie Nationale, Paris, prints a magnificent folio A ra Mém- 
OIRE DE JEAN GUTENBERG. (Hommage de |’Imprimerie Nationale et 
de la Bibliothéque Nationale.) Title-page black and red with copper- 
plate vignette. 


[137] 


I9OI 


IQOI 


IQOI-1902 


1902 


1902-IQ12 


1902 


1902 


Edouard Pelletan issues Maurice de Guérin, PoEmrs EN Prose (“Le 
Centaure” and “La Bacchante”’). Illustrations and decoration by 
Bellery-Desfontaines, engraved by Ernest Florian. Quarto and octavo. 
Printed by Maison Lahure in six colors on hand presses. Limited to 


167 copies. 


Draeger Fréres produce Au Pays pg Don Quicuorrs, illustrated by 
Daniel Vierge. 


Edouard Pelletan issues two volumes which well illustrate his man- 
ner of combining the woodcut with typography. Anatole France, 
L’AFFAIRE CRAINQUEBILLE, 1901. Illustrated with 63 drawings by 
Steinlen, engraved by Deloche, Ernest and Frédéric Florian, Emile 
and Eugéne Froment, Gusman, Mathieu and Perrichon. Printed by 
Maison Lahure in black and red on hand presses. Limited to 400 
copies. Victor Hugo, Cinq Pokmgs, 1902. Illustrated with 35 illustra- 
tions by A. Rodin, Eugéne Carriére, Daniel Vierge, Willette, Dunki 
and Steinlen, engraved by Ernest and Frédéric Florian, Crosbie, 
Duplessis, Perrichon and Emile and Eugéne Froment. Printed by 
Maison Lahure in red and black on hand presses. Limited to 225 
copies. 


Sale of Vicomte de la Croix-Laval’s library, notable because books 
were catalogued not by authors or subjects, but by names of the 
binders. A demonstration of the commanding position in France of 
the fine art of book covers as expressed in costly bindings. 


In these ten years Edouard Pelletan issues more than forty books with 
wide variety of typography, illustrated by artists working in many 
mediums, and employing most known processes of reproduction. 
(Selected representative works enumerated under dates that follow.) 


Daniel Vierge completes illustrations for Don Paso DE SEGOVIE (see 
1882). Published by Pelletan. 122 line drawings with carefully 
handled detail reproduced in heliogravure, plates retouched by the 
artist. Limited to 400 examples. 


Ambroise Vollard issues Dapunis ET CHLOE and Verlaine, PARALLELE- 
MENT. Both illustrated with lithographs by Pierre Bonnard, the 
painter, whose plates stand as most interesting examples of the im- 
pressionistic school. Not eminent as book art from the point of view 
of unity, but considered fine examples of pictorial art. 


[ 138 | 


1902 


B25 


1904 


1904 


1906 


1906 


1907-1914 


NOISY 


Ambroise Vollard, Paris, issues Lz JARDIN DxEs Suppticss. Illustrated 
with 20 designs by Auguste Rodin. Quarto. Printed on specially made 
paper watermarked with title of book. Limited to 150 copies. 


Edouard Pelletan publishes Beaumarchais, Lr Barprer DE SEVILLE. 
With 62 illustrations and ornaments by Daniel Vierge. Title-page in 
black, red and brown. Engravings by Aubert, Florian, Froment, Per- 
richon and Tinayre. Printed by Maison Lahure in red and black on 
hand presses. Limited to 350 copies. 


Jacques Beltrand produces Les Petirs Métrers. Illustrations and 
wood-engraving by himself. Type, a rugged, almost crude Roman, 
having woodcut character. One of a series of similar books. 


Edouard Pelletan issues Goethe, Lz Ror prs AULNES. Poem in first part 
of book, in German, with translation opposite. German text in Gothic 
designed by Arthur Christian, director of Imprimerie Nationale, de- 
rived froma Plantin Civilité type. Second part of book contains Schu- 
bert’s musical score, designed in accordance with Gothic decoration 
used for whole volume. With 7 full page and various headpieces in 
color by Bellery-Desfontaines, engraved by Ernest Florian. Printed by 
Imprimerie Nationale in four colors. Limited to 200 copies. 


Auguste Lepére produces Erasmus, L’Etoce be La Four, with illus- 
tration, typography and printing in colors by himself. Considered the 
best of a series of similar books, with many interesting problems in 
composition and printing. Under patronage of Société des Amis des 
Livres, a society of book-lovers. 


Adolphe Giraldon produces fine decorative illustrations for Virgil, Lrs 
Ectocurs. Pen drawings on wood engraved by Florian and printed 
in color. Roman type with ornamented capitals. 


Prince D’Essling compiles his Les Livres A FIGURES VENITIENS DE LA FIN 
pu XV’ SiiCLE ET DU COMMENCEMENT DU XVI’, one of the fine works 
on Venetian printing. In 3 volumes, folio, plates in photogravure, 
more than 2000 reproductions of woodcuts. 


Edouard Pelletan issues Moliére, Le Misanrurops. Title-page ty- 
pography green, black and red with vignette (publisher’s device) in 
brown. Granjean type used for comedies, Garamond for preface and 
dialogues. Titles, leading names, etc., in green and red. With 26 illus- 
trations by Jeanniot, of which 14 were etched by Delatre, 12 engraved 


[ 139] 


oe 


IQIO 


IQII 


IQII 


IQI2 


on wood by Ernest Florian. Head and tail-pieces in simple outline en- 
eraved by Florian. Full-page illustrations printed in sepia and sanguine 
broken with black. Printed by Imprimerie Nationale. Limited to 320 
copies. In this book Pelletan’s effort was to suggest, by typography 
and illustration, the splendor of society in the period of Louis XIV. 


Charles Jouas, after illustrating many books, produces his famous 
drawings and etchings for La CarHépra.eg, which is considered the 
best example of his art in blending minute architectural drawing with 
the book-decorative style. 


Edouard Pelletan issues Richepin, La Cuanson pes Gugux. With 252 
illustrations by Steinlen, drawn in lithographic crayon as if for stone, 
reproduced in photogravure on zinc process blocks retouched by the 
artist and by Florian. Result described by Pelletan as “undistinguish- 
able from lithography.” Printed by Maison Lahure on hand presses 
in black and red. Limited to 325 copies. 


Deplanche, Paris, issues Apollinaire, Le Bestiare, illustrated with 
conventionalized representations of animals, birds and fish by Raoul 
Dufuy, one of the advanced modernist painters. Engravings on wood 
representing the increasing tendency to masses, more or less coarse, 
high lights and elimination of intermediary tones and details. 


Edouard Pelletan, Paris, issues Beranger, Les Résurrections ITati- 
ENNES. Title-page, red and black. Vignette brown. Decorated with 
13 designs by Eugéne Grasset. Handsome headpieces and other orna- 
ment with fine simplicity of line, printed in black. Simple Roman 
initials of handsome form printed in red. Folio numbers red. Printed 
by Imprimerie Nationale. 


Edouard Pelletan issues Anatole France, La Rotisserie DE LA REINE 
Pépauqug. Seven years in making, and known as “his swan song.” 
Type, Garamond’s Italic on 16-point body from Imprimerie Nationale 
fonts. Title-page red and black with vignette (publisher’s mark) 
brown. Illustrated with 190 designs by Auguste Leroux, engraved on 
wood by Duplessis, Ernest Florian, Eugéne and Emile Froment, P. 
Gusman and Perrichon. Of the wood-engraving, Pelletan said: “It is 
a résumé of the art since the regeneration of this process about 1830. 
All styles are represented —the romantic facsimile, the style of 1860, 
the color engraving by multiple plates of 1890.” Quarto. Printed in 
four colors by Imprimerie Nationale. Limited to 4.10 copies. 


[x40] 


IQ12 


IQI2 


IQI2 


AEE 


1913 


ees 


IQI4 


Edouard Pelletan dies, after publishing a little more than 60 books. 
His son-in-law, R. Helleu, assumes management of the press, and under 
imprint of Bibliothéque Helleu-Pelletan and Helleu and Sergent issues 
series of books in the Pelletan tradition: La Princess pz CLEves; La 
Co .inz INsPIrREE, type by Deberny, woodcuts by P. Colin; Les Vieties 
TENTACULAIRES, illustrated with woodcuts by Frank Brangwyn. 


R. Helleu gives finishing touch to Pelletan’s almost completed book, 
Hesiod, Les TRavaux ET Les Jours with Anatole France, TERRE ET 
L’Homme. Referred to by bibliophiles as one of the very fine French 
books. Title-page in black and red with vignette (publisher’s mark) 
brown. Illustrated with 114 original woodcuts by Paul Emile Colin. 
Woodcut illustrations printed in black, woodcut decoration in color, 
initials (in simple Roman type) red. Quarto. Printed by Imprimerie 
Nationale. Limited to 355 copies. 


R. Helleu issues LE DERNIER Livre D’ EDOUARD PELLETAN, commemo- 
rating his last book. 


Georges Crés and Company, Paris, publish Villiers de Isle Adam, 
Lr Nouveau Monpbe. With 15 woodcuts by P. E. Vibert, printed in red 
and green. Title-page red, green and black. 


Maurice Denis, painter and designer of cartoons for stained glass, 
murals and other ecclesiastical subjects, makes color illustrations for 
a fine edition of St. Francis, Les Petrres FLeurs. Second edition illus- 
trated in black and white translations on wood by Jacques Beltrand. 
Under Beltrand’s direction, the ornamentation, engraving and typog- 
raphy (type, small Roman of early Venetian character) are conceived 
in terms of equal value. Small edition printed on hand presses. 


Beginning of work under André Peignot on a fine edition of Villon, 
Lr Granp Testament. Specially designed type by Peignot. Illustrated 
with etchings by Bernard Naudin. One of his most successful pictorial 
works. Taylor, who saw book under way in 1914, called it “a most 
remarkable edition.” The artist did not, however, yield his concep- 
tion to any book-decorative plan, and the book is a noted pictorial 
volume rather than an example of unified book arts. 


Francois Bernouard, Paris, issues FROLILEGE DES PoOEMES DE ‘THEOPHILE 
DE Viau. Illustrated by Charles de Fontenay in the extreme modern 
revival of the naive drawing and wood-engraving of the first illustrated 


[41] 


1Q14 


IQI4 


1916 


1918 


1918 


1918 


eG, 


incunabula. Typography not closely related to the book, which is 


frankly treatedasa vehicle for textand illustrationas separate problems. 


G. Peignot & Fils issue their brochure Les Cocuins, describing the 
Cochin series of type, based on eighteenth century copper-engraved 


and typographic material. 


An enumeration of this period names as publishers and book-lovers 
working for French book art: Georges Crés and Company, Jules 
Meynial, Léon Pichon, A. van Bever, A. Blaizot, L. Carteret, H. 
Floury, F. Ferrond, R. Helleu, René Kieffer, E. Rey, Octave Char- 
pentier, E. Lévy, H. Piazza, Henri Beraldi, publisher and leader in 
Société des Amis des Livres, Eugéne Rodriguez, president of book- 
lovers’ society Les Cent Bibliophiles. Among book-lovers’ societies 
besides these two active in subscribing for and otherwise supporting 
good books, Société du Livre d’ Art Contemporain, Le Livre Contem- 
porain, and Société Normande du Livre Illustré. 


R. Helleu, Paris, prints Anatole France, Cz Que Disent Nos Morts. 
Decorated with 12 designs by Bernard Naudin in woodcut. Printed in 
three colors by Imprimerie Nationale. Quarto. Four limited editions 
on four qualities of paper. 


Léon Pichon issues Oscar Wilde, BALLADE DE LA GEOLE DE READING. 
Type, small black Roman designed and used with the purpose of con- 
forming to the subject. With 25 symbolic illustrations by Jean Gabriel 
Daregnés in woodcut printed from the block in two colors. Considered 
in Franceas one of the “most curious” and most sympathetically illus- 
trated modern books. 


Léon Pichon issues Virgil, Copa. Type, small Roman, pro-em in 
Italics. Illustrated with wood-engravings from diptyches by Carlégle, 
simple line relying on black masses for the chief effect. 


The paper book cover, previously considered temporary because of 
the national habit of binding books privately, receives more attention 
in the period beginning about this time. French book producers also 
begin using ornamental end-papers, and by 1925 are showing good 
progress in that previously neglected field. 


Helleu and Sergent issue Verlaine, Les Firrs Gatantes. Illustrated 
by Charles Guérin with crayon lithographs. An example of pictorial 
art like the Bonnard books. See 1902. 


[142 | 


AER 


LO 


1920 


1920 


1920 


1920 


1920 


Léon Pichon issues DapHnis ET CHLokz. Type of Jenson character. 
Illustrated by Carlégle in line admired for purity and elegance. Con- 
sidered by French book collectors as a good example of the modern 
tendency toward combining the illustrative and the decorative as 
equally vital elements of the book. An example of Pichon’s efforts 
toward unity in the French book on the Morris principles. 


Eragny Press, London, prints for Société Les Cent Bibliophiles, 
France, Histoire DE LA REINE DU MaTIN ET DE SOLIMAN, PRINCE DES 
Gentes. In the Brook Riccardi type. Illustration by Lucien Pissarro; 
engravings on wood by Lucien and Esther Pissarro. Specially made 
French paper. Illustrations partly in tint, partly in rich color plates. 
Initials in gold with colored design as background, medieval style. 
Title-page in gold and olive on left-hand page. First page text within 
rich colored illustration and border, gold initial. Considered one of 
the best works of this press in the field of sumptuous productions. 


Léon Pichon issues Corbiére, Armor. Illustrated with woodcuts by 
André Deslignéres. Highly modern use of black masses and high 
lights, wholly devoid of half-tones. Each poem led by illustration that 
serves as headband, followed by tail-piece of strictly related character, 
with frieze-like ornamental designs running through intermediate 
pages to hold the decorative scheme together. Type, rugged small 
Roman of woodcut character. 


Léon Pichon issues De Nerval, La Main Encuantée. Type of fifteenth 
century Venetian character. Illustrated with 30 woodcuts by Jean 
Gabriel Daregnés, arranged to serve as decorative factors in the scheme 


of the book. 


Berger-Levrault, Paris, issue La BELLE Histoire QuE VoILA, written 
and illustrated with pen drawings by André Hellé, a favorite child’s 
illustrator. Typography subordinate to pictures. 


Emile Bernard designs and engraves on wood illustrations for Villon, 
Orvvrss. Type, an ornamental Lettre Batarde with fantastic initials. 
Illustrations with the feeling of pen drawing, engraved and printed 
without heavy blacks nor much white, detail occupying the greater 


part of the block. Published by Ambroise Vollard. 


Maxime Dethomas, architect, painter and designer of gardens and 
theatrical scenery illustrates Chateaubriand, La Campacne Romaine. 


[143 ] 


1920 


Ig21 


1921 


1921 


1921 


1921 


1921 


Pictorial representations in black masses and high lights without inter- 
mediary tones, so treated as to be decorative. Typography in graceful 
open Roman appropriate to the extensive white space in the woodcuts. 


Emile Paul, Paris, issues Las Jarvis, illustrated with wood-engravings 
by Paul Vera, one of the ultra-modern artists, who, however, uses the 
prisms and planes of cubism with considerable success to obtain deco- 
rative effects. 


G. and A. Mornay, Paris, issue Anatole France, Le Comre Morin. 
Illustrated with wood-engravings by Henri Barthélémy. Type spe- 
cially designed, closely assimilated to the wood-block. 


René Kieffer, Paris, publishes Poe, Manuscrir TROUVE DANS UNE 
BouTeitie. Illustrated with woodcuts by Pierre Falké, colored by 
hand. Paper covers. Limited edition. One of a series illustrated in 
color, etchings and woodcuts, after originals by Jonas, Picart-Ledoux, 
Siméon, Thomas, Desteract, Orazi, Dethomas, King and Moreau. 
Dec O22. 


Librairie Garnier, Paris, issues Les Saisons NorMANDES. Type, a large, 
medium-heavy Italic with Roman initials on tint-block. Illustrated 
by Pierre Gusman with woodcuts engraved by him. Masses and high 
lights, but with much detail expressed in finished line, and consider- 
able use of intermediary tones. Printed in black and light orange. 


Louis Jou, Paris, compositor, decorator, wood-engraver, after long 
work in book illustrating, publishes Machiavelli, Lz Prince, with illus- 
trations all fulfilling their part as decoration, tied in with text as head- 
bands and tail-pieces while sustaining their pictorial task. Jou’s Spanish 
extraction evident in the character of the book, which is eloquent of 
the Spanish Renaissance. Published under imprint of Jou and Bosviel. 


Jou and Bosviel issue La Boétie, Dr La ServiruDE VOLONTAIRE OU LE 
Contr’un. Another fine example of unified illustration and decora- 
tion, wood-engraving and typography, and also a characteristically 


Spanish book. 


Léon Pichon issues Les Pius Jottgs Rosgs pr L’ ANTHOLOGIE GRECQUE. 
Titles in rugged Roman type, text in similarly rugged, very black Italic. 
Illustrated by Carlégle. Drawings, wood-blocks and typography 
thoroughly in unity. 


[ 144 | 


1921 


1921 


1922 


1922 


ABs 


aS 


1923 


1923 


Bossard, Paris, issues L’ ApocatyPse, illustrated with designs and wood- 
engravings by F. A. Cosyns, using black and white with little inter- 
mediary detail, but with carefully drawn and perfected line. 


Georges Crés and Company, Paris, issue Anatole France, Lr Livre 
DE Mon Ami. Illustrated with wood-engravings by F. Siméon. 


René Kieffer, Paris, publishes Balzac, Lz Pere Gortot. Illustrated 
with 140 woodcuts in color by P. Quint. Paper covers. One of an 
extensive series printed in editions limited to a few hundred each, illus- 
trated in woodcut or etchings, black and white and colors, by Georges 
Bruger, Paul Guignebault, Robert Bonfils, Pierre Brissaud, J. B. Vetti- 
ner, G. Le Meilleur, André Domin, J. Hamman, E. Legrand, Joseph 
Hémard, Pierre Falké, Lucian Simon and others. See 1921. 


G. and A. Mornay, Paris, issue Chadourne, Lz Por au Nor. IIlus- 
trated with woodcuts in rich, fantastic design with use throughout of 
tone, by Pierre Falké. Printed in black and white, colored by hand 
with stencil. Typography subordinated to illustration, but planned in 
harmony with weight and color of cuts. 


Arthéme Fayard, Paris, issues Duvernois, Crarotte. Type, very small, 
compact Roman with plain Roman initials placed in unusual manner. 
Illustrations by Achille Ouvré, engraved on wood by him. In modern 
manner with black masses, but qualified by the more precise technique 


of his previous work as engraver on copper. 


René Kieffer, Paris, publishes Les Pasrorates DE THéocrite. Illus- 
trated with woodcuts by J. B. Vettiner, in black and white. More than 
r00 illustrations, chapter headings and tail-pieces. No color. Paper 


covers. Limited edition. 


H. Floury, Paris, publishes Cormar EN France. Quarto. Plates in 
color and in black and white reproducing Hansi’s paintings and etch- 
ings of Colmar. Some plates printed wholly by various color processes, 
others with aquarelle colors partly printed and partly applied by hand. 
Specially made paper. Simple, bold typography. Text by Carlos 
Fischer. 


Helleu and Sergent issue Colette, Lz Voyacr Ecoists. Type, a deli- 
cately cut Roman of “copper-plate” character. Illustrated by Charles 
Guérin with original lithographs. An achievement in the difficult task 
of making lithography harmonize with the typographic quality of a 


[145 | 


1923 


1025 


1923 


1924 


1924 


1924 


1924 


1924 


1924 


1924 


book. The copies in complete colors, printed with collaboration of the 
artist, are scarce. 


René Kieffer, Paris, publishes Alfred de Vigny, La Frecate “La 
Sérieuse.” Ilustrated with woodcuts by Pierre Falké, colored by hand. 
Initials in red. Printed by Ducros, Lefévre et Colas. Paper covers. 
Limited to 1100 copies. 


Gabriel Belot, using wood-engraving to obtain reproduction of pen 
drawings in thick line, illustrates Balzac, Lz Curé pe Tours. 


Helleu and Sergent issue Poe, Eurixa. Type, a tall Roman of sculp- 
tural quality. Illustrated by Alfred Latour, with woodcuts engraved 
by him. Unusual designs, expressing his view of the book-illustration 
as ornament related to and not dominating the typography. 


Société Anonyme des Editions “Sonor” in Geneva, directed by Au- 
guste Jordanis, prints editions of which Lxs IpyLLEs DE GESSNER is ex- 
ample. Ornamented with engravings on wood by P. E. Vibert, printed 
in tints. 


Tolmer, Paris, publishes Grossks BETEs ET PetiTEs BETEs, afolio picture 
book of beasts. Illustrations and lettering of text by André Hellé. 
Colored by hand. 


Francois Bernouard issues Vaillat, RYTHME DE L’ ARCHITECTURE. I]lus- 
trated with crayon drawings in the ornamental manner by Louis Siie. 


Librairie Garnier, Paris, publishes Firms, a picture book by André 
Hellé. Colored by hand. 


Carlos Schwabe, a Swiss painter and artist of the symbolist school, 
illustrates Maeterlinck, Petttas er MELIsANDE with rich decorative 
illustrative designs in water color. One of the modern workers in 
French book art, with many other books to his credit. Published by 
Henri Piazza. 


Léon Pichon issues Toulet, Mon Amrz Nang. Graceful Roman of EI]- 
zevir character. Illustrated with woodcuts printed in two colors from 
illustrations by Carlégle. Dainty line work combining the illustrative 
and the decorative, with wood-block, type and colors in harmony. 


A. E. Marty revives the classic outline illustration of decorative char- 
acter by etching on copper in delicate line and reserved use of masses, 
the pictorial decoration for Régnier, SckNes MyTHoociqugs. 


[146 | 





1892-1894 


1892-1903 


1895 


1896 


1896 


1897-1901 


1898-1904 


JWG 


HRONOLOGY OF PRINTING 


XIX AND XX CENTURIES 
THE MODERN PERIOD IN GERMANY 


Most German authorities place beginning of new era of book art about 
this date, and agree that, as in England, it follows work of William 
Morris. 

Karl Burger, under commission of Prussian State Government, com- 
piles his Monumenta GERMANIAE ET ITALIAE TYPOGRAPHICA, a work 
showing German and Italian incunabula in facsimile reproductions. 
One of the important source books for typographical study. Printed 
and published by Reichsdruckerei (the government press), Berlin. 
See index to chronology, Incunabula. 

Otto Julius Bierbaum, writer and poet, publishes Pan, a periodical 
which is historic for the development of the new art of the book. 
Printed by W. Drugulin, Leipzig. Ornamented by Klinger, Greiner, 
Thoma, Sattler, Fidus, Pankok, Eckmann, Heine, E. R. Weiss, and 
other artists of the new school of the book as unity. 


In Munich are founded the periodicals JUGEND (by Georg Hirth) and 
Simpticissimus (by Albert Langen and Th. Th. Heine). Two great 


forces for new movements in Germany. 


Eugen Diederichs, Jena, founds his publishing house. Entrusts design 
and decoration of books to young artists like Cissarz, Vogeler, Lechter, 
Behrens, Weiss, Ehmcke, Fidus and others. Uses many printers— 
Drugulin, von Holten, Breitkopf and Hartel, Poeschel and Trepte, 
Steglitzer Werkstatt, etc. 


Joseph Sattler of Strassburg, designs and ornaments GESCHICHTE DER 
RHEINISCHEN STADTEKULTUR. Chapter headings, vignettes, initials and 
tail-pieces in manner of ancient German wood-engravers. Type, Frak- 
tur. 4 volumes. Published by J. A. Stargardt, Berlin. 
Reichsdruckerei, Berlin, issues Diz NrseLuncEn. Type, Uncial with 
pronounced Gothic characteristics, designed by Joseph Sattler, related 
to manuscript hands of the early Middle Ages. Initials, ornament, 
illustration and binding by Sattler. Full-page illustrations in wood- 
cuts extremely decorative in conception. Folio. Printed in black, 
red and gray. One of the famous modern German books. 


[ 147 ] 


1898 


1898 


1899 


1899 


1899 
1899 


1900 


1900 


1900 


1900 


Eugen Diederichs Verlag, Jena, publishes Maeterlinck, Der Scuatz 
DER ARMEN. Roman type. Arrangement, illustration and decoration 
by Melchior Lechter. Illustrations on wood-block, powerful outline 
on black ground. Woodcut initials white on black. Printed by Otto 
von Holten, Berlin. Considered Lechter’s finest work and one of the 
best German books. 

Heinrich Vogeler illustrates and decorates Jacobsen, Frau Marta 
Grusse for Eugen Diederichs. So successful that complete edition of 
Jacobsen follows. Vellum bindings decorated by Vogeler. 


Melchior Lechter decorates Stefan George, TEPPICH DES LeBens. One 
of Lechter’s “splendid works.” Large quarto. Printed on gray hand- 
made paper in rich blue and red. Bound in light green linen stamped 
in blue. Poems on facing pages bound together with one ornamental 
border. Printed by Otto von Holten under Lechter’s direction. 


The writers Bierbaum, Heymel and Schréder found Dr INnsz1, a liter- 
ary periodical which like Pan becomes a powerful factor for the Morris 
principle of unity in the book. Printed by Drugulin. Decorated by 
Vogeler, Weiss, Heine, Lemmen and many others. Lasts three years 
and is foundation for the great book publishing institution Insel- 


Verlag. 
Gesellschaft der Deutschen Bibliophilen founded. 


Emil Rudolf Weiss arranges and decorates Bierbaum, GuGELINE; and 
Heymel, Fiscuer, for Insel-Verlag. 


Issue of Eckmann type (Otto Eckmann) and early Behrens type 
(Professor Peter Behrens), designed under encouragement of Dr. Karl 
Klingspor. Generally considered to mark beginning of modern Ger- 
man activity in typographical design. 

Steglitzer Werkstatt (Steglitz Workshop) established for fine typo- 
graphical work, by Georg Belwe, type-designer and artist; Professor 
F, H. Ehmcke, artist, architect and author, and after 1913 instructor 
graphic arts, Polytechnical School, Munich; and Professor F. W. 
Kleukens, after 1906 artistic director of Ernst Ludwig Presse, 
Darmstadt. 


Eugéne Grasset designs for Genzsch and Heyse his Grasset-Antiqua 
and Grasset-Kursiv. 

Professor Johann Vincenz Cissarz, Dresden, painter and etcher, is 
entrusted with artistic arrangement of official catalogue, German 


[148 ] 


1900 


IQOI 


Typographical Section, Paris Universal Exhibition. Later joins Royal 
School of Applied Art, Stuttgart. Produces many bindings and bind- 


ing cases, and otherwise contributes to art of the book. 
Gutenberg Museum founded in Mainz. Opened rgor. 


Johann Vincenz Cissarz decorates UNTERsTROM, poems by Helene 
Voigt-Diederichs. Type, a modernized Gothic. Floral border in 
antique manner in woodcut for each page. Woodcut decorative illus- 
trations as tail-pieces for each page. Printed in green and yellow- 
brown by W. Drugulin, Leipzig. Issued by Eugen Diederichs 
Verlag, Jena. 


Igo1-1914 Professor Peter Behrens, painter, architect, decorator of books, designs 


1902 


1902 


1902 


1904 


1904 


Behrens-Schrift (1901), Behrens-Antiqua (1908), Behrens-Kursiv 
(1908), Behrens-Mediaeval (1914). Issued by Klingspor Brothers, 
Offenbach. 


W. Drugulin, Leipzig, printsand publishesa vast volume: MArKSTEINE. 
Pages of extracts from all literatures of the world, printed in their types, 
ranging from German and English to Chinese, Coptic, Malaysian, 
Sanskrit, Cuneiform and other ancient and extinct languages. Edited 
and compiled by Johannes Baensch-Drugulin with assistance of 
scholars of all nations. Elaborately ornamented. Coloring, decora- 
tion and arrangement of pages by Ludwig Siitterlin. Designed as me- 
mento of five hundredth anniversary of Gutenberg’s birth. Limited to 
393 copies. 

Professor Otto Hupp, designer of famous MUNCHENER K ALENDAR series 
(see 1885), arranges, illustrates, decorates and designs end-papers and 
binding for LiepER FUR DEN KINDERGOTTESDIENST, published for Al- 
sace-Lorraine by the Strassburg Pastoral Konferenz. Printed by Ph. 
von Zabern, Mainz, in black and red. Gothic type designed by Hupp. 
One of the fine song books of the modern era. 


Gesellschaft der Bibliophilen issues Kautzsch, Diz DeutscHe Bucu- 
Kunst. Type, Gothic Behrens-Schrift. Printed by Poeschel and 
Trepte, Leipzig. 


Insel-Verlag, Leipzig, publishes Diz Jupensucue. Type, Fraktur. 
Decorated by Walter Tiemann. Printed in black and red. 


Karl W. Hiersemann, Leipzig, issues Konrad Haebler, BrstioGraFia 
IBERICA DEL SIGLo XV (incunabula of Spain). Large octavo, 385 pages. 


[ 149 | 


1904 


190% 


tO 


SES 


1906 


1906 


1906 


Part II, 258 pages, published 1917. The authoritative work on Spanish 
printing. See index to chronology, Incunabula. 


To produce an absolutely complete and definite catalogue of all incu- 
nabula, the Board of Education, Prussia, constitutes a commission 
(Kommissionfiir Gesamtkatalog der Wiegendrucke), Konrad Haebler, 
president. Between 1906-1911 all incunabula in the German public 
libraries are listed, and with aid of foreign scholars and governments, 
inventories are made of incunabula in all the countries of the world. 
See 1919, 1925. See also index to chronology, Incunabula. 


Konrad Haebler, Halle, compiles his TypENREPERTORIUM DER WIEGEN- 
pRucKE. An analysis of incunabula types, under a system which creates 
fundamental reference material. Rounds out Proctor’s work (see 1898, 
Modern Period in England) and ingeniously identifies the various 
type forms. Basic type forms grouped to show their derivation from 
original presses. Type forms of incunabula grouped according to 
countries, cities and presses. A vastly important contribution to the 
knowledge of early printing, which has made possible the identification 
of many books and printers. See index to chronology, Incunabula. 


Insel-Verlag, Leipzig, publishes Merimée, Tamanco. Illustrated with 
eight etchings by Karl Miersch. Produced by Staatliche Akademie 
fiir graphische Kiinste und Buchgewerbe, Leipzig. 


Professor Henry Wieynk, Dresden, designs Trianon type-face. Issued 
by Bauer, Frankfort. An Italic, which like his Wieynk-Kursiy, has 


flowing handwriting character. Rococo spirit in modern version. 


Heinz Kénig designs KGnig type, a face in which effort has been to 
combine richness and decorative character of old Germanic Fraktur 
with clarity. Issued by Emil Gursch, Berlin. 


Professor F. W. Kleukens founds in Darmstadt, in combination with 
Grand Duke Ernst Ludwig of Hesse, the Ernst Ludwig Presse, 
privately endowed by the Grand Duke. Issues sumptuous editions of 
classical and modern works and a great mass of smaller examples of 
fine printing ranging from menus and cards to books. Insel-Verlag” 
acts as publisher. 


Eugen Diederichs Verlag, Jena, publishes Lzeonarpo Da Vinal. Printed 
in black and red by Breitkopf and Hartel. 


[150] 


a heel 


oy, 


Ae ea 


Sat 


1907-1910 


1908 


1908-1910 


1908 


1908 


1908 


1909 


Janus-Presse, Leipzig, founded by Carl Ernst Poeschel and Walter 
Tiemann, a private press conducted like the English private presses, 
prints its first book: Goethe, ROmiscHe ELscien. Roman type. De- 
pends entirely on good typographical arrangement. No decoration 
except a handsome monogram serving as printers’ mark. Limited to 
150 copies. 

Insel-Verlag, Leipzig, issues Hofmannsthal, Der Wetssz FAcHER. 
Illustrated with woodcuts by Edward Gordon Craig. Considered one 
of the good examples of the German illustrated book of this period. 


Karl W. Hiersemann, Leipzig, issues Burger, BucHHANDLERANZEIGEN 
DES I 5. JAHRHUNDERTS (book dealers’ announcements). Folio, 32 plates. 


In Leipzig is published the first of the VERGFFENTLICHUNGEN DER GE- 
SELLSCHAFT FUR [YPENKUNDE DES 15. JAHRHUNDERTS. (The society for 
study of fifteenth century types.) A monumental undertaking which 
has resulted in many hundred full-size reproductions of title-pages, 
texts and analytical tables of incunabula type forms. See index to 
chronology, Incunabula. 

Otto Hupp designs Liturgisch (1907), Hupp-Unziale (1910), Hupp- 
Fraktur (1911), Hupp-Antiqua (1910). Issued by Klingspor Brothers, 
Offenbach. 


Professor F. W. Kleukens designs Kleukens-Antiqua. Issued by 
Bauer, Frankfort. 


Professor F. H. Ehmcke designs Ehmcke-Antiqua (1908) and 
Ehmcke-Kursiv (1910). Issued by Flinsch, Frankfort. 


Hans von Weber Verlag, Munich, issues Hyperion, a monthly period- 
ical. Roman types. Title-pages designed by Walter Tiemann. 


Reichsdruckerei, Berlin, issues a folio Brste under direction of the 
artist Ludwig Siitterlin. One of the sumptuous modern Bibles, de- 
signed in the spirit of the liturgical printing of the early centuries. 
Type, a “broad” Fraktur designed specially by Georg Schiller for 
this purpose, set in two columns to page. Printed in black and red. 
Calligraphic initials, title-pages and headings. 

Melchior Lechter designs and ornaments Treuge, HuLpIGuNGEN. 
Quarto. Printed by Otto von Holten, Berlin. 


Tempel-Verlag founded in Leipzig by S. Fischer, Hans von Weber, 
Eugen Diederichs, Julius Zeitler and Carl Ernst Poeschel, also 


[1st] 


eae, 


DS a 


OO Ont as 


A SENS, 


1909-1923 


IQ10-1922 


IQIo 


1910 


IQIl 


Georg Hartmann. Issues TTEMPEL-KLASSIKER under artistic direction 


of Professor E. R. Weiss, a famous series of wide scope. 


Einhorn Presse, founded by Melchior Lechter and Otto von Holten, 
prints George, Der SirsenTE Rinc and Wolters, HERRsCHAFT UND 


DIENST. 


Professor F. W. Kleukens designs Ingeborg-Antiqua (1909), Helga- 
Antiqua (1912), Kleukens-Fraktur (1910), Gotische-Antiqua 
(1916), Ratio-Latein (1923). Issued by D. Stempel Schriftgiesserei, 
Frankfort. 


Erich Gruner, designer and painter, designs, ornaments and illustrates, 
or makes bindings for more than 250 books. Also wins celebrity with 


book-plates. 


Ernst Ludwig Presse, Darmstadt, produces as spring gift issued by 
Insel-Verlag a small book: Goethe, Ein Hymnus. Arranged and deco- 
rated by Professor F. W. Kleukens. Considered a “typographic jewel” 
by German critics of the book. 


Professor Walter Tiemann, director, Academy of Graphic Arts, Leip- 
zig, designs Tiemann-Mediaeval (1908), Tiemann-Kursiv (1912), 
Tiemann-Fraktur (1914), Narciss (1914), Tiemann-Antiqua (1923). 
Issued by Klingspor Brothers, Offenbach. 


Rudolf Koch, instructor, Art of Lettering, Polytechnical School, 
Offenbach, designs types based on handwriting, formed in accordance 
with historical styles. Deutsche Schrift (1910), Eine Deutsche 
Schragschrift (cursive), (1910), Frithling (1914), Maximilian (1917), 
Koch-Antiqua, Koch-Kursiv (1922). Issued by Klingspor Brothers, 
Offenbach. 


Emil Rudolf Weiss designs Weiss-Fraktur. Issued by Bauer, Frank- 
fort. 


Hoffmann Buchdruckerei, Felix Krais, Stuttgart, produces for Deut- 
scher Buchgewerbeverein, Leipzig, Das Moperne Bucu. Anenormous 
folio compilation of examples of modern German printing, illustration 
and decoration. Cover and end-papers by Professor Cissarz. Binding 


by C. H. Schwabe. 


Insel-Verlag, Leipzig, issues first volume of too1 Nacut, the Arabian 
Nights edition produced under direction of its manager, Professor 
Anton Kippenberg, one of the leaders in establishing modern art of 


[152] 


IQII-1913 


IQI2-1920 


IQi2 


IQI2 


aS 


1Q14 


1QI4 


1QI4 


1QI4 


1Q14 


1914 


the book in Germany. Conservatively but finely ornamented, with 
distinguished typographical treatment, and with great regard to unity 
of type, illustration, ornament, title-pages and covers. 


Lucian Bernhard designs Bernhard-Antiqua (1911) and Bernhard- 
Fraktur (1913). Advertising display types. Issued by Flinsch type- 
foundry, Frankfort, merged in 1918 with Bauer foundry. 


Professor F. H. Ehmcke designs type tending to historic styles, but 
modernized and marked by personal manner. Ehmcke-Fraktur 
(1912), Ehmcke-Schwabacher (1914), Ehmcke-Rustika (1914), 
Ehmcke-Mediaeval (1920). Issued by D. Stempel Schriftgiesserei, 
Frankfort. 


Eugen Diederichs, Jena, publishes Goethe, Faust, with typographic 
arrangement by Professor Ehmcke. A book still cited by technical 
writers as an example of appropriate design. 


Jacoby-Boy designs Bravour, advertising display type. Issued by D. 
Stempel Schriftgiesserei, Frankfort. 


Georg Belwe, one of founders of Steglitzer Werkstatt, designs Belwe- 
Gotisch. Issued by Schelter and Giesecke, Leipzig. 


Professor C. O. Czeschka designs Czeschka-Antiqua, a Roman in 
delicate copper-plate style with spiral flourishes instead of serifs. Issued 
by Genzsch and Heyse, Hamburg. 


Rupprecht-Presse, Munich, founded under direction of Professor 
F. H. Ehmcke. 


International book exposition (Weltausstellung fiir Buchgewerbe und 
Graphik) opened in Leipzig. Generally referred to in German techni- 
cal publications by the short title “Bugra.” 


Dr. Wilhelm Wiegand forms Bremer Presse, Munich. Produces books 
usually without decoration, depending on type entirely. As charac- 
teristic feature the initials designed by Anna Simons are cited. 


Hugo Steiner-Prag, illustrator of books, teacher, Royal Academy of 
Graphic Arts, Leipzig, designs Steiner-Prag-Fraktur. Issued by 
Genzsch and Heyse, Hamburg. Also active in creating bindings and 
other decoration for the book. 


Karl W. Hiersemann, Leipzig, issues Burger, Diz DRUCKER UND VER- 
LEGER IN SPANIEN UND PORTUGAL VON I 501-1536. Octavo, 84 pages, I 
plate. See index to chronology, Incunabula. 


[153] 


ah ha 


1916 


1916 


1916 


1918 


eRe) 


ea 


ae 


1920 


1920 


1921 


Georg Belwe designs Belwe-Antiqua and Belwe-Kursiv. Issued by 
Schelter and Giesecke, Leipzig. 


Kurt Wolff Verlag, Munich, issues Meyrink, Der Goren. Illustrated 
with lithographs in black and white by Hugo Steiner-Prag. Printed 
by Meissner and Buch. In these and succeeding book illustrations 
Steiner-Prag has worked to give the lithograph a dense, solid color 
quality to make it part of the typographical picture. 


Reichsdruckerei, Berlin, prints Voulliéme, Diz DeEutscHEN DRUCKER 
prs FUNFZEHNTEN JAHRHUNDERTS, issued as text-volume for Burger, 
MonuMeENnTA GERMANIAE ET ITALIAE TYPOGRAPHICA. (See 1892-1903.) 
See also index to chronology, Incunabula. 


Emil Hélzl designs Hélzl-Mediaeval, a type with Roman and Gothic 
characteristics, but with personal style strongly predominant. Issued 
by D. Stempel Schriftgiesserei, Frankfort. 


Marées-Gesellschaft, a society for cultivation of fine printing, issues 
Goethe, Cravico. Type, large Weiss-Fraktur-Kursiv, a Gothic de- 
signed with calligraphic quality of Italic. Typographic ornament by 
designer of the type. Title-page black and red, with border and other 
ornament so used as to relate the design to the Goethe period. Text 


printed in black and red. 


Kommission fiir Gesamtkatalog der Wiegendrucke (see 1904.) com- 
pletes 33,403 descriptions of incunabula—origins, type forms, initial 
letters, rubrications, woodcuts, printers’ marks and catchwords, foli- 


ations, signatures, etc. See 1925. See also index to chronology, In- 
cunabula. 


Propylaen-Verlag, Berlin, issues Merimée, Carmen. Illustrated with 
lithographs in black and white by Hugo Steiner-Prag. 

Karl W. Hiersemann, Leipzig, issues Grillparzer, Dik AHNFRaU. Illus- 
trated with crayon lithographs in black and white by Hugo Steiner- 
Prag. Printed by Meissner and Buch. 


Type-foundry of D. Stempel, Frankfort, revives Jansen-Antiqua and 
Jansen-Kursiv cut in 1670 by A. Jansen, Leipzig. 


Initial appearance of Marcus Behmer-Drucke, printed under direc- 
tion of Marcus Behmer, published by Otto von Holten, Berlin. 


Insel-Verlag founds Insel-Presse in Leipzig under direction of Carl 
Ernst Poeschel. 


[154] 


IQ21 


1921 


1921 


1922 


1923 


1923 


1923-1924 


1923-1924 


1923-1924 


1923-1924 


Propylaen-Verlag, Berlin, issues Heine, SpANiscHE RoMANZEN. Type, 
an open, not over-decorated Fraktur. Illustrated with etchings by 
Hugo Steiner-Prag. 


Marées-Gesellschaft, as part of its publication of limited editions with 
special reference to elevation of graphic arts, issues a Greek edition 
of Sappuo, the letters being etched by Emil Rudolf Weiss in the form 
of delicate and highly ornamental Greek script. 


Ratio-Presse, Darmstadt, issues Goethe, Der Nevur Pausias. Type, 
Kleukens-Antigua, a “slender” Roman of delicate lines. 


Type-foundry of H. Berthold, Berlin, revives the Walbaum types. 


Schriftgiesserei Stempel, Frankfort, prints privately Eyth, Porste unp 
Trcunik. Type, Ratio-Latein, a delicate Roman, designed by Pro- 
fessor F. W. Kleukens. Title-page and vignette designed by him, vig- 
nette engraved on wood by Oskar Bangemann. Initials, large outline 
Roman with floral decoration for background. 


Rudolf Koch designs Deutsche Anzeigenschrift, advertising display 
type. Issued by D. Stempel Schriftgiesserei, Frankfort. 


Der Deutsche Meisterbund, Munich, formed to give appropriate 
book-expression to German classics, issues the latest of the series which 
bears the general title Diz BUcHER DER DeutscHEN Meister. Designed 
under direction of F. H. Ehmcke, with type, ornament, end-papers 
and cover-design selected in relation to the author’s style, subject and 


period. 


Tempel-Verlag, Leipzig, issues Shakespeare, Ricuarp III, further 
volume of the Shakespeare series in two languages. Designed in the 
style of the other editions in this German series of TEMPEL-K LassIKER. 


Wilhelm Gerstung, Offenbach, prints K6nic SinpBaD UND SEIN FALkE. 
A story from the Arabian Nights, with text designed by Rudolf Koch 
and engraved on wood by Gustav Eichenauer. Illustrated with five 
woodcuts by Walter Klemm. Das Hitprsranpsiiep, designed as 


block-book with wood-engraving by Willy Harwerth. 


Euphorion-Verlag, Berlin, publishes Pierre Louys, LIEDER DER BILITISs, 
type Koch-Antiqua, printed by Otto von Holten; Novalis, MArcHEN, 
type Unger-Fraktur, printed by Poeschel; Das Hone Lisp, text en- 
eraved on wood in nine plates by Johannes Tzschichold, illustrated 


with seven etchings by Willy Jaeckel, printed by Poeschel; Virgil, 


[155] 


1923-1924 


1923-1924 


1923-1924 


1923-1924 


1923-1924 


1923-1924 


1923-1924 


1923-1924 


Buxourka, illustrations by Richard Seewald engraved on wood; 
Mérike, MArcHEN vom SICHEREN Mann, type Schwabacher. ‘The two 
last named produced by Staatliche Akademie fiir Graphische Kiinste 
und Buchgewerbe, Leipzig. 


Der Bund der Bucheinbandkiinstler, an association of artists in book- 
binding, issues Meister DER Ernpanpkunst, an elaborate work de- 


signed to maintain and elevate craft-quality. 


Karl W. Hiersemann, Leipzig, publishes Buch UND BUuCHEINBAND, an 
illustrated retrospect by Hans Loubier, Librarian of the Berlin Kunst- 
gewerbemuseum, and one of the effective workers for good book art. 


Buchenau and Reichert Verlag, Munich, publish Dim DerutscHEen 
PressEN. Special issue of the periodical BUcHERsTUBE, giving an account 
of contemporaneous German book printing establishments which do 
notable work for the art of the book. 


Offenbacher Werkstiatten, Offenbach, print their first work (pub- 
lisher, Verlag Wilhelm Gerstung), Das Ze1cHENBucH. Under direction 
of Rudolf Koch, 265 woodcuts of symbols and emblems of trades and 


professions. 


Karl W. Hiersemann, Leipzig, publishes ALTE unpD NEvE ALPHABETE. 
A rearrangement of Lewis F. Day’s original English work by Pro- 
fessor Hermann Delitsch. 


Richard Weissbach, Heidelberg, issues Drzk UNcEr-FraktTvr. The first 
of aseries by G. A. E. Bogeng on famous type-faces. A detailed history 
of the work of Johann Friedrich Unger, one of the great type-designers 
of the past, whose faces remain in use. 


Hyperion-Verlag, Munich, publishes Rokoxo unp Empire, covering 
the art styles of 1700 to 1830. The eighth and final volume of a history 
of the development of styles in art, treating of the plastic arts, painting, 
ornamental design and related spiritual arts such as poetry. 


Karl W. Hiersemann, Leipzig, publishes Volkmann, BILDERSCHRIFTEN 
DER Renatssance. A work with rio illustrations analyzing and de- 
scribing the symbolical values with which the illustrators of the 
fifteenth and sixteenth centuries endeavored to express spiritual sig- 
nificances. The studies range from the illustrations in the Aldus 
HypNEROTOMACHIA to printers’ marks and ornament. 


[ 156] 


1923-1924 


1924 


1924 


1924 


1925 


Fritz Heyder, Berlin-Zehlendorf, publishes ALtrpgEurscHe Hotz- 
SCHNITTKUNST, a Collection of the best ancient woodcuts, selected and 
discussed by Willy Kurth. Roland-Verlag, Munich, publishes Der 
Ritter vom Turn, reproducing the woodcuts in the book issued 14.93 
by Michael Furtner, Basle. Dr. Benno Filser Verlag, Augsburg, pub- 
lishes reproduction of Carrxt uND MeEtizga printed in 1520 by Grimm 
and Wirsung, Augsburg, with woodcuts by H. W., supposed to have 
been Hans Weidlitz. ‘The same house reproduces Ars MEmorativa, a 
“‘memory-primer” printed circa 1490 by Anton Sorg, Augsburg, with 
65 woodcuts by an unknown master. Gustav Mori, Frankfort, issues 
Dir SCHRIFTGIESSER BARTHOLOMAUS VOSKENS IN HAMBURG UND REIN- 
HARD VOSKENS IN FRANKFURT A. M. Insel-Verlag, Leipzig, issues Das 
PassIoNaL, reproduced from sixteenth century print with the old 


woodcuts. 


Der Deutsche Buchgewerbeverein, with co-operation of Staatliche 
Akademiefiir Graphische Kiinste und Buchgewerbe zu Leipzig, issues 
FUHRER DER DEUTSCHEN Bucukunst. A résumé of contemporary Ger- 
man book art by Professor Julius Zeitler, Rudolf Koch, Franz Servaes, 
Emil Preetorius, Max Leon Flemming, Dr. Alfred Heller, Reinhold 
Bauer, H. Nitz and Dr. R. Riibencamp. Illustrated with reproduced 
title-pages, texts, book-illustrations and decorations, book-cover 
designs, etc. Published by Archiv fiir Buchgewerbe und Gebrauchs- 
graphik. Artistic and typographical arrangement by Professor Georg 
Alexander Mathey. Type, Hartel-Antiqua. Printed by Breitkopt 
and Hartel, Leipzig. | 


Kistner and Siegel, Leipzig, issue Nietzsche, MustkaiscHe WERKE, 
volume one of a complete Nietzsche edition produced for the 
Nietzsche-Archiv. Quarto. Title-page, red and black, with vignette 
inred. ‘Type, Tiemann-Antiqua (Roman). 


Jacques Rosenthal, Munich, issues Haebler, Diz Deutscuen Bucx- 
DRUCKER DES XV JAHRHUNDERTS IM AusLANDE. Printed by Knorr and 
Hirth. Collotypes by Albin Graemer. See index to chronology, In- 


cunabula. 


Kommission fiir Gesamtkatalog der Wiegendrucke (see 1904, 1919), 
Professor Erich von Rath, University Library, Bonn, chairman, Dr. 
Ernst Crous, Prussian State Library, secretary, announces completion 
of first volume of catalogue, and states that of about 40,000 different 


[157] 







incunabula, 37,639 descriptions are completed, and that full catalogue 
will amount to 12 volumes and will require about ro years for com- 
pletion. First volume, full quarto, 1234 x 934 inches, contains descrip- 
tions of 3645 prints. Origin, type forms, initials, rubrications, wood- _ 
cuts, printers’ catchwords, signatures, foliations, etc., biographical _ 
reference to authors, editors and correctors, with present owners of all e 
known examples. See index to chronology, Incunabula. | 


[158] 
















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A CHRONOLOGY OF PRINTING 


XIX AND XX CENTURIES 
THE MODERN PERIOD IN AMERICA, ARRANGED BY YEAR OF BIRTH 


De Vinne, Theodore Low—Printer, author, typographer. Born, December 25, 
1828, at Stamford, Connecticut. Died, February 16, 1914. 1842,apprentice 
Newburgh, New York, Gazette. 1850, entered printing-house of Francis Hart 
and became foreman. 1858, junior partner of Francis Hart. 1865, organized 
New York Typothetz and was first secretary. Studied French, German and 
Italian for specific purpose of making himself proficient printer. 1859, began 
writing and continued more than 55 years. More than 100 titles, including, 
1864, THE Prorits or Book Composition; 1869, THE PRINTERS’ Prick List; 
1872, THE STATE OF THE TRADE; 1876, THE INVENTION OF PRINTING, with a 
second edition in 1878, also issued by George Bruce’s Son and Company, 
type-founders, set in various types, and forming part of their specimen books, 
1878 and 1882; 1888, CHRISTOPHER PLANTIN AND THE PLANTIN-MoreTUS 
Museum aT ANTWERP; 1900, THE Practice oF T'ypoGRAPHY, now issued in four 
volumes: PLatn PrintING Types, MopERN Book ComposiTIon, TITLE-PaGeEs, 
and Correct Composition—the series being completed when he was more 
than 70 years old; 1910, NotastE Printers of [rary DurinG THE FirTEENTH 
Century. Trade publications from 1859 to gir contain essays and discus- 
sions by De Vinne covering many subjects varying from historic backgrounds 
to the newest technical tendencies. 1872, contracted with Scribner’s to print 
St. NicHoras. 1876, contracted to print ScripNer’s MonTHLy. Began print- 
ing in days of the woodcut. Active in development of half-tone printing, and 
a pioneer in use of coated paper. Designed many type-faces. One of the 
founders of The Grolier Club and printed many of its publications. 


Nelson, Robert Wickham—Type-founder. Born, September 20, 1851, Granville, 
New York. In last 30 years, as president, has made American Type Founders 
Company a great force in American typography. Undertaking its manage- 
ment ina period when typographical taste was at low ebb, with methods and 
output of type-foundries disorganized, he was one of the first to perceive 
that the industry needed primarily to be put back on its basis as an art; and 
commencing 1894, when he undertook leadership, the organization under 
him has worked in that direction. After early commercial experience, bought 
and conducted small weekly newspaper, THE PHognrx, Braidwood, Illinois. 


[159] 


Formed partnership as Nelson, Ferriss & Company and established Joliet 
(Illinois) Datty News (later consolidated with Joliet Repustican and now 
the Hrratp-News). 1881, established Nelson’s Ready-print in Chicago, serv- 
ing small newspapers. Subsequently formed partnership with O. ]. Smith, then 
proprietor of Cuicaco Express, and with G. W. Cummings, to supply pub- 
lishers of weekly and small daily newspapers with stereotype plates. Device 
for making base and plates type-high patented by Nelson. Enterprise operated 
under name of American Press Association, and greatly successful. 1886, be- 
came interested in Thorne type-setting machine, developed it and marketed 
2000 machines. 


Dodge, Philip Tell—Lawyer, inventor, industrial leader. Born, Fond du Lac, Wis- 
consin, 1851. 1891, after previous association as patent lawyer and adviser, 
became chief of group working on a type-setting machine. His broad vision 
of business perceived the requirements of the art, and anticipated many of 
its developments. Under his direction, maintained for more than 30 years, 
the machine attained its success. Has made more than one hundred inventions 
for the linotype. Invented and patented roller keyboard which greatly in- 
creased speed and accuracy of the machine. Invented and patented two-letter 
matrices, which enabled machine to carry italics and small capitals. Invented 
and patented use of two or more magazines. During past three decades made 
the organization a helpful factor in education of apprentices, typographical 
improvement and other printing progress. 1914, called Edward Everett 
Bartlett as typographical adviser and director for the Linotype Company. 
President, Mergenthaler Linotype Company. Chairman, Linotype and Ma- 
chinery, London, England. President, 1913-1924, International Paper Com- 
pany. Director, many other companies. Graduate, Columbia University, Law 
School, Washington, D. C. Patent lawyer for many years. Many inventions 
in firearms, photography, etc. 


French, George— Lecturer and writer on the graphic arts. Born, North Clarendon, 
Vermont, 1853. 1903, established Imperial Press, Cleveland, Ohio. Author, 
PRINTING IN RELATION TO GrapHic ArT and ART AND PRaAcTICE oF ADVERTIS- 
ING. His contributions to literature of typography have had wide circulation 


and have had beneficial influence on typography. 


Mergenthaler, Ottmar—Inventor and watchmaker. Born, May 10, 1854, Hachtel, 
Wiirttemberg, Germany. Apprenticed as watchmaker and became expert. 
1872, arrived in America and began work for a relative, August Hahl, Wash- 
ington, D. C., maker of electrical appliances. Made many instruments for 
United States Signal Service. 1873,shop removed to Baltimore, Maryland. 1876, 


[ 160 | 


group working on various inventions for type-setting by machine, engaged 
him on wages and provided cost of shop and materials. 1876-1884, a period of 
progressive invention by Mergenthaler and associates, during which many ma- 
chines were built on various principles and discarded. 1886, the first commer- 
cially successful linotype produced. 1886, New York Trisune issues first 
newspaper in the world to be set by linotype. Cutcaco Damy News and 
Louisvitte Courter-JournaL (with New York Trisune) first linotype- 
equipped newspapers. 1890, circa, to 1898, ill health compels Mergenthaler 
to become less active and he finally retires. 1899, dies in Baltimore, Mary- 
land, October 28, leaving a fortune as fruit of his work. 


Heintzemann, Carl H.— Printer, artist, musician, book-lover. Born, Bad Wildugen, 
Germany, December 28, 1854. Established The Heintzemann Press in 1879, 
in Boston. Between 1890 and his death in 1909, stood as one of the forces for 
the better art of the book in America. Closely associated with Copeland and 
Day in their work in Boston for giving the public popular and reasonably 
priced literature with typographical art and quality. Expert in textbook com- 
position and notable among publishers of American school books in English 
and foreign languages. Equally skilled in commercial work and produced 
many fine catalogues. Produced many privately printed works, some of which 
are highly prized today by collectors, also various books of decorative character 
in sets. One of the founders of Boston Society of Arts and Crafts, and a lead- 
ing member of that society to his death. 


Gilliss, Walter— Printer and author. Born, May 17, 1855,at Lexington, Kentucky. 
Died, September 24, 1925. Established The Gilliss Press, 1869. A powerful 
influence for good printing. Noted for good typography and particularly for 
early fine use of Elzevir and Caslon faces, and Blackletter. Printer of many 
books for The Grolier Club, also limited editions of William Loring Andrews. 
Author of Tur Story or a Motto anp Mark and A PRINTER’s SuN-DIAL. 
Contributed many scholarly articles to trade journals on typography and 
the history of printing. Member, The Grolier Club. Past-president, Ameri- 
can Institute of Graphic Arts. Typographical adviser to The Country Life 
Press (Doubleday, Page & Company). 


Bullen, Henry Lewis— Born, September 18, 1857, in Ballarat, Victoria, Australia, 
of American parentage. Known widely through contributions to printing 
craft periodicals on the history, art, literature and technique of typography 
and its allied arts. Earnest promoter of vocational education of printers’ 
apprentices since 1882; one of the founders of the School for Printers’ Ap- 
prentices of the City of New York. Founder and curator of the Typographic 


[ 16x | 


Library and Museum of the American Type Founders Company, Jersey City, 
New Jersey. Member of American Antiquarian Society, (London) Biblio- 
graphical Society, American Bibliographical Society, Gutenberg-Gesellschaft 
(Mainz), Grolier Club, Carteret Book Club, Society of Printers (Boston), 
and American Institute of Graphic Arts. In 1892 entered employ of Ameri- 
can Type Founders Company; created vogue for Caslon Old Style types, and 
renaissance of early Venetian and French master type-designs, now known 
as Cloister Old Style and Garamond, with decorative designs of same period. 
Now devoted to educational work under the auspices of the American Type 
Founders Company in connection with the Typographic Library of that 
company. 

Updike, Daniel Berkeley—Printer, publisher, author. Born, Providence, Rhode 
Island, 1860. Founded, in 1893, The Merrymount Press, Boston, Massa- 
chusetts. 1895, Bertram Grosvenor Goodhue designed for Mr. Updike the 
Merrymount type used, in 1896, in THE ALTar Book; containing the Order 
for the Celebration of the Holy Eucharistaccording to the Use of the American 
Church. With illustrations by Robert Anning Bell and type, borders, initials 
and cover by Bertram Grosvenor Goodhue. Also, in 1904, in the AGRICOLA of 
Tacitus, in folio, and ina few books for customers. 1898, revived commercial 
use of Scotch modern-face types—notably in the novels of Edith Wharton, 
printed for Charles Scribner’s Sons. 1904, showed interesting revival of the 
French Lettre Batarde in THE Name or THE MerryMount Press. 1904, elected 
to membership in American Antiquarian Society. 1905, Herbert P. Horne, 
England, designed for the Press his Montallegro type. This face used first in 
Condivi’s Lire or MicHELaGNoLo Buonarroti, The Merrymount Press; later 
for The Humanists’ Library: Leonardo Da Vinci’s THoucHTs oN ART AND 
Lire; Erasmus, Acarnst War and other like works. 1910, Honorary Degree, 
Master of Arts, Brown University. Citation by President Faunce: “Daniel 
Berkeley Updike, printer and publisher, combining the skill of the craftsman 
with the insight of the scholar, whose books are an honor to America and a 
pleasure to other lands.” 1911-1916, lecturer, Technique of Printing, Har- 
vard University School of Business Administration. 1912-1914, President of 
The Society of Printers, Boston. 1915, elected to Board of Management of 
the John Carter Brown Library, Providence. 1919, first use of Janson’s XVII 
century fonts in this country, in THe MErrymounT Press, Its Arms, Work, 
AND EQuirpMENT. 1922, author of Printinc Types: Their History, Forms, and 
Use. Published by Harvard University Press, Cambridge, Massachusetts, 
printed at The Merrymount Press. 2 vols., 308, 328 pages. Illustrated with 
367 plates. 1924, first use of Poliphilus and Blado fonts in Crrations oF 


[ 162 | 


Honorary Decrees, Brown UNIVERSITY, 1900-1904. 1924, author of IN THE 
Day’s Work, three essays on printing. Published by Harvard University Press, 
printed at The Merrymount Press. Alsoedited an annotated reprint of Edward 
Rowe Mores’ A DissERTATION UPON ENGLISH T'YPOGRAPHICAL FOUNDERS AND 
Founperigs, for The Grolier Club, printed at The Merrymount Press. 


Bartlett, Edward Everett — Designer, engraver, printer. Born, Brooklyn, New York, 
1863. Studied design and drawing under working masters. Gained his early 
reputation drawing directly on the wood-block. Established his own wood- 
engraving business, 1880. Originated the “phantom” illustration, drawing on 
boxwood the first such illustration ever made—a Westinghouse engine—in 
1887. Developed the retouching of photographs, his plant serving for many 
yearsas the recognized “training school” in this art, and was the first to establish 
a printing plant combining all branches of the business—design, illustration, 
engraving, printing and binding—under a single management. 1892, made 
the first complete dummy of a commercial catalogue, and with his partner, 
the late Louis H. Orr, became one of the chief influences in improving the 
standard of commercial printing. Established Department of Linotype Ty- 
pography for the Mergenthaler Linotype Company in rg14, and in 1915 
brought out the Linotype Benedictine face, produced under his direction by 
Joseph E. Hill. 1919, retained as assistant in research and executive activities, 
Harry L. Gage, who, in 1913, established the school of printing at Carnegie 
Institute of Technology, Pittsburgh. 1920, journey of typographic research 
in Europe for the Linotype Company. 1923, in collaboration with William 
Dana Orcutt, produced THE Manuat or Linotype TYypoGRAPHY. 1924, 1925, 
further journeys of typographic research in Europe, visiting chief printing 
centers of England and the Continent. Art critic. Chairman, Art Committee, 
The Engineers’ Club, New York. Director, The Gutenberg Society, Mainz. 
Member, The Grolier Club, American Institute of Graphic Arts. President 
of the Bartlett Orr Press and Director of Typography for the Mergenthaler 
Linotype Company. 


Hildreth, E. L.—Printer. Born, in Chesterfield, New Hampshire, July 25, 1863. 
Educated in Hinsdale, New Hampshire, public school. 1881, began as ap- 
prentice in the printing establishment which now is his. Prefers to refer to his 
establishment as a “country print-shop,” but has recognition in both United 
States and Europe for the quality of his books. His own estimate of them is: 
“Not because they are exceptional, but because they are examples of good, 
straightforward trade editions well done... . The books are simply examples 
of the kind of machine composition that may be achieved if one is insistent and 


[ 163 | 


willing to spend a little more labor and care to produce something very much 
better, and if publisher and printer co-operate heartily to give the purchaser 
a thoroughly good product and to earn for themselves a reputation for doing 
so.... They are made simply with the feeling that composition, paper, press- 
work, binding should all contribute to the making of an honest, first-class trade 
edition, and that a book should represent substantial values not merely in con- 
tents but in appearance.” In 1910, his establishment, E. L. Hildreth and 
Company, Brattleboro, Vermont, began working for the Yale University Press. 
First publication, a small book of 48 pages. In 1923, at Boston Graphic Arts 
Exposition, made an exhibit of Yale University Press publications which at- 
tracted general admiration. Among them were How America WENT To Wak, 
6 volumes; ‘TERRESTRIAL AND CELESTIAL GLOBES; THE JOURNAL OF A LaDy OF 
Quatity, and many others ranging from science to poetry. Besides printing 
for Yale University Press, prints for The Association Press, Mount Herman 
and Northfield schools, Middlebury College and similar institutions. 


Goudy, Frederic William— Designer, printer, author and lecturer. Born, Bloom- 
ington, Illinois, 1865. Made five journeystor study in England, Belgium, Hol- 
land and France. Began business life as an accountant. Engaged in designing 
since 1898. Proprietor, Village Press. President, Village Letter Foundry. 
Instructor, Art Students’ League, New York, Clarence H. White School of 
Photography, New York. Art Director, Lanston Monotype Company, Phila- 
delphia. 1904, bronze medal for book printing, St. Louis Exposition. Gold 
medal, American Institute of Graphic Arts. President, Boston Society of 
Printers. Author, 1918, THe ALPHABET; 1922, ELEMENTS OF LETTERING. Editor, 
Ars Typocrapuica (quarterly). Lecturer and contributor to many periodicals 
on typography and allied arts. Has designed more than 40 type-faces, among 
them Kennerley, Forum, Goudy Antique, Goudy Old Style, Goudy Modern, 
and Hadriano. 

Munder, Norman IT’. A.— Printer and lecturer. Born, Baltimore, Maryland, 1867. 
Apprenticed in early youth. Specializes in printing of half-tone and color- 
plates. Producer of books in collaboration with T. M. Cleland, Bruce Rogers, 
Frederic W. Goudy and others. Gold medal for exhibition of printing, San 
Francisco Exposition. Bronze medal, books, American Institute of Graphic 
Arts, New York. Vice-president, American Institute of Graphic Arts. 

Johnson, Henry Lewis— Editor and author. Born, Limington, Maine, 1867. 1903, 
began publication of THE PrinTINGART. 1910, established THe Grapuic ARTs. 
Consistent advocate of quality in printing. His efforts for better typography 
have had much to do with the tendency to simplicity now evident in business 
printing. 


[ 164 | 


Carr, Horace— Printer and lecturer. Born,Crawford County, Pennsylvania, 1868. 
Founded Printing Press in Cleveland, 1906. Printer of books for Rowfant 
Club and other institutions. Student of type-design and owner of large collec- 
tion of special and imported types and borders. Work noted for brilliancy of 
presswork and taste in paper selection and typography. His skillful use of 
Caslon has aided in demonstrating the value of this type-face. 


Bradley, “Will” —Artist, designer, printer, author. Born, Boston, 1868. Appren- 
tice, journeyman and foreman in a country print-shop. 1893-1894, won his 
first reputation by designs for posters, book-covers, etc., in Chicago. 1894- 
1895, started Wayside Press in Springfield, Massachusetts, after studies in art 
to develop talent for drawing and design. Series of booklets, unique in plan 
and style, vigorously individual, brought favorable comment during succeed- 
ing years. Had fortune of impressing not only printers, but the non-technical 
public. Published Brapiey, His Boox. Favorite method, highly decorated 
type-page. Works in black and white and color, his color combinations being 
unusual. Highly successful in adapting styles of past periods both in typography 
and illustration. Fond of seventeenth and eighteenth centuries. Has eminent 
versatility. Besides bold, forcible style used for his woodcut effects, handles 
detail with extraordinary delicacy of line and design. His book ornaments in 
latter manner so elaborate and rich in detail that it was customary at one time 
to compare him with Aubrey Beardsley. In 1905, did important work for 
American Type Founders Company. Has also designed furniture and houses. 


Goodhue, Bertram Grosvenor—Architect, artist, type-designer, decorator of books, 
craftsman. Born, Pomfret, Connecticut, 1869. Distinguished in each of the 
related arts. A leader in early ’90’s of groups laboring in America to spread 
lesson of Kelmscott Press. Specialized in Gothic design, letter styles and orna- 
ment. Authority on Gothic manuscript and early printed books, 1892, pub- 
lished Knicut Errant, a random piece, and notable bit of book-making. Also 
Mauocany Tree. Designed many book-plates. Influenced various publishers, 
particularly Copeland and Day. For their Estner: A Younc Man’s TRaceby, 
produced pages in Morris manner—rich medieval border with recurrent heavy 
unit to create “Blackletter” feeling, and with initials powerfully black. Ability 
in non-Gothic design exhibited in such books as Sones or Herepi, published 
by Small, Maynard & Company, initials and borders in delicate “copper-plate” 
manner of late eighteenth century furor for the antique. “His drawings were 
marvellously executed, often in exact size; the lettering, sometimes in a dis- 
tinguished and masterful Roman, more often in a very beautiful Blackletter, 
alone was enough to give a high place.” (Ingalls Kimball, in memorial article.) 


[ 165 | 


1895 (circa), designed for The Merrymount Press (D. B. Updike) the Merry- 
mount type. Based on Jenson letter, with more weight of line, and avoiding 
blackness of Morris letters. Shown in THE ALTAR Book, 1896, folio, which 
shows also his initials and borders. White, floriated, on solid black ground, 
with skillful treatment of masses. It has been said that “no finer design in the 
Gothic manner has been wrought in America.” With Ingalls Kimball, 
designed Cheltenham type, which has become an “international type,” being 
part of equipment of every nation in the world. In years preceding his death 
(April 23, 1924), almost wholly occupied with architecture. Work includes 
churches of St. Thomas and St. Vincent-Ferrer in city of New York, State 
Capitol, Lincoln, Nebraska (not erected at time of his death), and Gothic 
Chapel for Military Academy of the United States at West Point, New York 
(Cram, Goodhue and Ferguson, architects). 


Rogers, Bruce—Artist, printer, type-designer, editor. Born, Latayette, Indiana, 
May 14, 1870. 18g0, graduated, B.a., from Purdue University. 1891-1894, 
newspaper artist (INDIANAPOLIs News); designer for illustrating company, and 
on his own account. 1894-1895, removed to Boston, Massachusetts, and 
worked with L. Prang & Company. 1895-1912, with Riverside Press, Cam- 
bridge, Massachusetts, as creator of fine printing and designer of limited 
editions. 1900, began Riverside Press editions. 1901, Montaigne type, a re- 
vival of sixteenth century Venetian, designed by him, cut for Riverside Press 
edition of Essays or Montaicne, published 1903; frontispiece and title-page 
borders designed by him; headbands and large initials, white on black ground 
in the manner of Geofroy Tory. 1901, De Maistre, VoyacrE AUTOUR DE MA 
Cramprre, Caslon type, ornamental initials. 1902, Raleigh, THe Last Ficut 
OF THE Revence, Howard Pyle illustrations in woodcuts. 1903, Ronsard, 
SONGS AND SONNETS, arabesque title-border in Lyons manner, contemporane- 
ous with the poet. 1903, FirrEEN SONNETS OF PeTRrarcH, Italic lowercase and 
Roman capitals in Aldine manner. 1906, Sonc oF Roanp, in Lettre Batarde 
(French Gothic), marginal notes in Civilité type. 1906, Saint-Pierre, PAUL ET 
Vircinig, in Didot type, arranged in French style. 1911, EccLEstastTEs, wood- 
cut borders, borders and other ornament designed in manner of Geofroy Tory. 
1913-1916, independent designer and printer in New York, assisting Museum 
press of Metropolitan Museum of Art. 1916, designed Centaur type which 
he describes as a refinement on his Montaigne design. Used since 1914 for 
publications of Metropolitan Museum of Art. Complete font, 14 point, shown 
in THE Cenravr, translated from the French of Maurice de Guérin by George 
B. Ives. 1917, joined Emery Walker (associate of William Morris and until 
1909 partner with T. ]. Cobden-Sanderson in the Doves Press, Hammersmith, 


[ 166 | 


London, England). Centaur types used for Diirer, On THE Just SHAPING OF 
Lerrers (The Mall Press, Hammersmith, 1917). October, 1917-August, 
1919, Printing Adviser, Cambridge University Press, Cambridge, England. 
September, 1919, appointed to his present office of Printing Adviser to Har- 
vard University Press, Cambridge, Massachusetts. 1920, joined printing- 
house of William Rudge, Mount Vernon, New York. Recent typographical 
productions. 1920, Moore, A Visir From St. Nicuoras, type, Original Old 
Style, color woodcuts from illustrations by Florence W. Ivins. 1920, THE 
JournaL or Mapam Knicut, eighteenth century style decoration. 1921, 
Thoreau, Nico anp Moonticut, revival of sixteenth century style. 1924, 
ANNOUNCEMENT, in type of John Baskerville. 


Orcutt, William Dana—Author, printer. Born, West Lebanon, New Hampshire, 
April 18, 1870. Lecturer and writer on the higher phases of printing as an art 
and many works of fiction. Decorated by the Italian Government “for in- 
terpreting Italy to America in the sister arts of literature and printing.” Author 
of: WriTER’s Desk Book, 1912; AUTHOR’s Desk Book, 1914. 1923, in collab- 
oration with Edward Everett Bartlett, produced THe Manuat or Linotyre 
Typocrapuy. Designer and producer of the Humanistic type. Associated 
with Plimpton Press, Norwood, Massachusetts. 


Garnett, Porter—Designer, printer, author, teacher. Born, San Francisco, Cali- 
fornia, March 12, 1871. In 1895-1896 produced with Gelett Burgess THE 
Lark and SEEN AND UNsEEN using the original Caslon Old Face. Designed many 
books for California publishers. In 1922 instituted course in Fine Printing at 
Carnegie Institute of Technology, where, in 1923, he established The Labora- 
tory Press to issue broadsides, leafletsand books, the work of his students —the 
first private press devoted solely to educational ends. Chevalier of the Legion of 
Honor; vice-president, American Institute of Graphic Arts, 1924-1925; 
member, The Grolier Club, New York. 


Nash, John Henry— Printer, publisher. Born, Woodbridge, Ontario, 1871. 1887, 
apprentice, Toronto, Canada. 1894, worked in Denver, Colorado. Three 
years as publisher of books in New York City. 1916, established press at San 
Francisco. 1923, Honorary Degree, Master of Arts, Mills College, California; 
citation by President Aurelia Henry Reinhardt: “John Henry Nash, printer 
and book-maker, collector of rare volumes; follower in the steps of Gutenberg 
and Caxton; founder of a press in San Francisco, as famous in London as are 
the presses of Morris and Cobden-Sanderson in our western land; establisher 
upon the Pacific Coast of that art without which education in a democracy 
would be impossible and which preserves the best of human thought in forms 


[ 167 | 


of imperishable beauty.” Collector of rare books and books on printing, 
selected after study in Europe; examples from Gutenberg and Jenson’s work to 
that of Morris and Cobden-Sanderson. Among other books has printed: 
QUATTROCENTISTERIA, for The Grolier Club; Si-verapo Squatters, for Charles 
Scribner’s Sons, illustrated; Some LeTrers FRoM ALFRED Doucras To Oscar 
WIpg, containing 26 facsimile letters; RUTHST. DENis, PIONEER AND PROPHET, 
two volumes, illustrated; TaMERLANE AND OTHER Poems, with facsimile of 
original; Curtosities oF Earty Economic LITERATURE; OLD CaLIForNIA, with 
ten color plates; AN INrRopuction To Mosy Dick; Aponais, with facsimile 
of original. All limited edition books, on hand-made papers, mostly for private 
distribution. Many library catalogues for Charles W. and William Andrews 
Clark, Jr. His custom is to print and distribute among his friends, from time 
to time, handsome examples of his book-making. Among these are: THE LiFe 
oF Dante; Eccresrastes, French Lettre Batarde (Gothic); THz New Wort; 
Tue Lake Isx or INNisrrEE, 8 pages, with facsimile of Yeats’ poem, Incunab- 
ula; BarNEyY McGee; THE Ipgat Book. 


Oswald, John Clyde—Born, Fort Recovery, Ohio, 1872. Began there in printing 
business, 1885. Removed to New York, 1894. President, Oswald Publishing 
Company; editor, THE American Printer, 1897. Ex-president, American 
Institute of Graphic Arts, New York Typothete, National Editorial 
Association, Federation of Trade Press Associations, New York Trade 
Press Association (1909-1910). President, International Benjamin Franklin 
Society; director, Art Alliance; treasurer, National Society for Vocational 
Education; member, New York State Press Association, Press Club, The 
Grolier Club, Advertising Club of New York; secretary, National Arts Club. 
Author, BENJAMIN FRANKLIN, PRINTER. 


Gress, Edmund G.— Born, March 29, 1872,in Easton, Pennsylvania. Learned print- 
ing trade at Free Press, Easton. Did reporting and wrote special articles. 
Manager of job department, 1gor-1902. 1903, to New York in charge of 
composing-room of THE AMERICAN PRINTER. 1905, first book: THE AMERICAN 
Manvat or Typocrapny (wrote 18 of the 24 chapters and planned it). 1908, 
director and secretary, Oswald Publishing Company. 1914, vice-president. 
1915, editor, THE AMERICAN PRINTER. Author of: THe AMERICAN MANUAL OF 
‘TypoGRapPHy (1905), AMERICAN HANDBOOK OF PRINTING (1907), T'yPE DEsIGNs 
IN CoLor (1908), ART AND Practice oF ‘T'ypoGRaPHy (1910), revised edition 
of ArT AND Practice or Typocrapuy (1917), A DasH THRoucH Europe 
(1923). Lecturer on typography, general printing, editorial practises, busi- 
ness and craft subjects. Director, American Institute of Graphic Arts. 


[ 168 ] 


Rudge, William Edwin— Printer and publisher. Born, Brooklyn, New York, No- 
vember 23, 1876. Inherited the printing business of his father, in New York 
City. 1921, removed his plant to Mt. Vernon, New York. His scholarly and 
careful work in book and commercial printing has commended itself to the 
conservative book-loverand discriminating user of printed matter. Hasachieved 
reputation for beauty and delicacy of presswork. In association with Bruce 
Rogers has rendered great service to typography by the high standard set by 
their work to the whole body of American printers. Vice-president, American 
Institute of Graphic Arts, member of The Grolier Club. Chairman, Better 
Printing Committee, United Typothete of America. Engaged in publishing 
as a separate venture in 1922, and has issued a number of books of general 
interest as well as special monographs on printing and the graphic arts. 

Gandy, Lewis C.— Editor and writer. Born, Kansas, 1876. 1910, assumed editor- 
ship of THE Printinc ArT on retirement of Henry Lewis Johnson. Author 
of monographs on Bodoni, Caslon and others. Contributor to trade journals 
on typographic subjects. Advocate of simplicity in commercial typography. 

Seymour, Ralph Fletcher— Designer and printer. Born, Milan, Illinois, 1876. 1905, 
established The Alderbrink Press, Chicago. Designed private type modeled 
on Kelmscott “Golden” face in which he printed a number of books for a 
limited circulation. Instructor in composition and illustration at Art Insti- 
tute of Chicago. 

Marchbanks, Hal—Designer and printer. Born, Ennis, Texas, 1877. Learned to 
set type in Dallas, Texas, 1898. Moved to Lockport, New York, “on the tow- 
path” and established print-shop in 1900. Came to New York City in 1903 
as sales representative for Edward Stern & Company of Philadelphia. Later 
became manager of job department of Hill Publishing Company which he 
bought out in 1912, establishing the Marchbanks Press. Founder-member of 
the American Institute of Graphic Arts. Member of Salmagundi Club. Ad- 
vocate of simplicity in typography. Publisher (with Frederic W. Goudy) of 
Ars TYpoGRAPHICA. 

Currier, Everett— Printer and writer. Born, January 16, 1877, Yarmouth, Nova 
Scotia. Won success in decorative composition marked by studious care and 
fine execution. Author of Tyrr Spacinc and numerous articles on typographic 
matters. President, Currier and Harford, Ltd. 

Bradley, William Aspenwall—Art director and writer. Born, Hartford, Connecti- 
cut, 1878. 1904, in charge of book production Mc Clure Phillips Company, 
and produced “trade” volumes designed with taste and care. 1916, established 
manufacturing department of Yale University Press. Noted for contributions 
to trade journals on better craftsmanship in book-making. 


[ 169 | 


Kennerley, Mitchell— Publisher. Born, August 14, 1878, in Burslem, England. 
President, Anderson Galleries. One-time owner THE Forum magazine. At- 
tracted attention as publisher of well-designed and well-printed books. Com- 
missioned Frederic W. Goudy to cut (in 1910) the type-face since known as 
Kennerley, first use of this type being in the book THe Door IN THE WaLL, 
by H. G. Wells, published by Kennerley, 1912. Publisher of two books 
on type-design and lettering by Goudy: THe AtpHaser and ELEMENTs oF 
Lerrerinc. Has been a consistent patron of the graphic arts in promoting and 
encouraging exhibitions and lectures, and in assistance to individual artists. 


Sherbow, Benjamin—Lecturer and teacher. Born, Germany, 1878. 1912, began 
preparation of a series of charts for the easy determination of typographic 
essentials, published in 1917. 1915, published Maxine Type Work. 1921, 
published Errective Typs-usE For ADVERTISING. Awarded Higham cup and 
gold medal for lecture, A.A. of A.A. Convention 1915, on TYPE-usE. 


Cleland, Thomas M.—Artist, designer, printer. Born, Brooklyn, New York, 
August 18, 1880. Says of himself: “Began work as printer in a small shop over 
a saloon on Eighth Avenue, New York, at the same time making decorative 
drawings for the work. Learned technical details of type-setting, presswork, 
etc., from practical experience.” In ILLustraTED Books or THE Past Four CENn- 
Turies, New York Public Library, 1920, Frank Weitenkampf, Chief of Arts 
and Print Division, says: “Men such as William Morris in England, Joseph 
Sattler in Germany, Bruce Rogers and T. M. Cleland in the United States, 
representing different national and individual taste and temperament, have in 
our times clearly brought before us the necessity of considering the relation of 
the parts of a book to each other, leading to unity in the design of the volume.” 
1924, Art Museum, Princeton University, exhibiting selected old and mod- 
ern books, showed as one example THe Locomosits Book, done by him 1915 
in Bodoni spirit. His revival of Bodoni face and manner the most noteworthy 
example of use of this type in our time. See reference to Mr. Cleland’s work in 
Updike’s Printinc Typrs. 1894-1895, brief course of study in antique and 
lite drawing at Artist-Artisans Institute, New York, now out of existence. 
1896, began work as printer. Made his own decorative drawings. 1899, set 
up small press “in the cellar of father’s house and did some little books and a 
few circulars, etc.” 1900, removed to Boston. Established Cornhill Press, 
where, according to him, “three small books were printed in very ‘limited 
edition.’ Upon the quite natural death of this enterprise, continued work asa 
decorative designer.” 1902, made type-designs for American Type Founders 
Company. Several months’ travel in Italy. 1907-1908, Art Director, 
McCture’s Macazine. Returned to work as independent designer. 1912, 


[170] 


again entered field of printing, installing types and presses for production of 
catalogues and other forms of commercial work from his own designs. 1920, 
sold printing establishment. Now devotes entire time to decorative design. 


Rollins, Carl Purington—Born, West Newbury, Massachusetts, 1880. Educated, 
Newburyport High School and Harvard College. Honorary Degree of . a. 
from Yale University, 1920. Began work with type asa boy. Did first print- 
ing ever done in the present Harvard University Press quarters (printed menus 
for student dining-hall as an undergraduate in 1900). Later worked for 
Ambrose Brothers on Georgetown (Massachusetts) ApvocaTe as editorial 
writer, advertisement compositor, gasoline engine starter, mailing clerk and 
job press feeder. 1900, started work for Heintzemann Press of Boston as com- 
positor in book-room. Contemporary there of A. F. Mackay, J. M. Bowles, 
Henry Lewis Johnson, etc. 1903, went to Montague, Massachusetts, and for 
a year and a half operated the New Clairvaux Press with a Golding Jobber and 
two boys. Spent summer of 1904 in Europe. Chief, Department of Graphic 
Arts, Jamestown Exposition, Norfolk, Virginia, 1907. From 1909 to 1918, 
proprietor of the Montague Press (Dyke Mill), Montague, Massachusetts. 
From 1918 to date connected with Yale University Press, New Haven, Con- 
necticut, and from 1920 to date printer to Yale University, with rank of As- 
sistant Professor. Principal work asa printer: Development of the Montague 
Press, raising the standard of printing at Yale. Writer of technical papers. 


Dwiggins, W. A.—Typographer and illustrator. Born, Martinsville, Ohio, 1880. 
Student in Frank Holme’s School of Illustration, Chicago, 1899-1901. Spe- 
cialized in applying graphic arts to printed matter, doing work for various 
large national advertisers in Chicago. 1905, began work in Boston, estab- 
lishing residence in Hingham. Acting Director for Harvard University Press 
during C. C, Lane’s army service. 1915-1921, with Laurance B. Siegtried 
published various numbers of THE Fasu.ist. 1919, published Exrracts FROM 
AN INVESTIGATION INTO THE PuysicaL Properties oF Books as THEY ARE AT 
PresENT PusLisHED, undertaken by “The Society of Calligraphers.” Also 
produced other publications for the same society. “Secretary, Society of 
Calligraphers.” Author of treatise on Caston’s Type FLowsrs, written for 
Society of Printers, Boston, Massachusetts. 


Hunter, Dard—Printer, designer, paper-maker, type-founder. Born, Steubenville, 
Ohio, 1883. Learned printing from his father who operated a private press in 
Chillicothe, Ohio, issuing books written by himself. Worked seven years in 
Roycroft Shops, designing commercial printing and about 50 books. Interest 
in hand-made papers took him to Europe where he learned the craft. Studied in 


[171] 


Graphische Lehr und Versuchanstalt, Vienna, under Rudolf von Larisch, the 
type-designer, and also perfected himself in lithography and letter-press print- 
ing. After further studies in England, where he did much commercial printing, 
notably in designing automobile catalogues, established himself in Marlboro- 
on-the-Hudson, New York,where he made his own paper and types. Finished 
his first “one-man book” in 1915—Frank Weitenkampf, THe EtcHinc oF 
Contemporary Lire, produced for Chicago Society of Etchers. Limited to 
200 copies. A copy, with the equipment for making it, deposited in Graphic 
Arts Division of National Museum, at Washington, D. C. Wrote and printed 
Oxp Paper Maxine, a book entirely produced by one man from authorship 
to binding. In 1924-1925, devoted himself to producing a bibliography of 
paper-making and watermarking from 1390 to 1800, ‘THE LITERATURE OF 
PAPERMAKING, limited to 170 copies for sale, type designed and cast by him, 


paper of his own manufacture. 


Teague, Walter Dorwin—Born, Decatur, Indiana, 1883. Enrolled, 1903, at Art 
Students’ League, New York, studying under George Bridgman. Associated 
with Calkins and Holden for four years from 1908, and then began free lanc- 
ing. Has done work for the Metropolitan Museum of Art and for many 
national advertisers. President, Artists’ Guild, 1923 and 1924. Received Art 
Directors’ Club medal for decorative design in 1922 and 1923. Articles on 
Usr oF ORNAMENT WITH GARAMOND, CaSLON AND Bopont Types, in December, 
1923, January, 1924 and February, 1924 issues of ‘THE AMERICAN PRINTER. 
Article on THE SPLENDOR OF THE Book, in August 5, 1924 Craftsmen Num- 
ber of THE AMERICAN Printer. Has designed a series of type ornaments for 
American Type Founders Company. 


Adler, Elmer— Printer, writer and collector. Born, July 22, 1884, in Rochester, 
New York. In 1922, he incorporated the Pynson Printers, having previously 
begun a successful career in manufacturing clothing, during which his en- 
thusiasm as a collector led him to abandon a foreordained business to pro- 
duce fine books. Associating notable designers and typographers with his 
work, Mr. Adler has made a number of books whose typographic excellence 
has attracted wide notice. His comprehensive typographic library has been 
made available to the public. In 1925 the five books which he submitted were 
selected among the fifty books of the year for a current exhibition. He is a 
writer and speaker on typography, and is active in promoting its influence on 
public taste. 


McMurtrie, Douglas C.— Printer and author. Born, July 20, 1888, in Belmar, New 
Jersey. 1916-1918, printer to Columbia University. 1919, built plant in 


[172] 


Greenwich, Connecticut, now the Condé Nast Press. 1924, established in 
New York a plant under name of Douglas C. McMutrtrie, Inc. 1925, Editor 
of Ars TypocrapHica. Author of AMERICAN Typr Desicn, PLANTIN’s INDEX 
CHARACTERUM OF 1567, THE CorRECTOR OF THE Press IN THE Earty Days oF 
PrinTING, and other books on the history of typography, inaddition to numer- 
ous contributions to American and European journals on type-founding his- 


tory. Collected and catalogued important library of books on typography. 


Grabhorn, Edwin— Printer and designer. Born, Cincinnati, Ohio, 1889. Founded 
Studio Press, Indianapolis, 1916. Removed his business to San Francisco, 
1918, now known as the Grabhorn Press. Printer of numerous books for 
Book Club of California, and many privately printed volumes. Noted for ap- 
preciation of values in type-designs, and for consistent work in support of 
classic tradition as guide and inspiration for modern work. His books notable 
for adherence to classical models in typography and format. 


Taylor, Henry Huntly — Printer. Born, San Francisco, California. Associated with 
Edward DeWitt Taylor under firm name Taylor & Taylor, San Francisco, 
California. Graduate of Stanford University (Bachelor of Arts). Professional 
training at Graduate School of Business Administration, Harvard University 
(Master in Business Administration, 1914). Specialized in printing courses 
then offered, including Technique of Printing, and practise studies in typo- 
eraphic design in Business Practise in Printing, both under D. B. Updike. 
Summer months between school years spent in European printing centers. 
Author of short technical study on Comparative Basic Costs or TYPE-sET- 
TING, ETC., published in pamphlet form by Graduate School of Business 
Administration, Harvard University, 1916. War service, 1917-1919, Wash- 
ington, D. C., and France. Appointed, for 1921, member of Committee of 
United Typothete of America on Bettering the Quality of Printing. Author 
of essay on THE PRosLEM oF BETTERING THE QuaLity OF PrinTING, published in 
Monotyes for March-April, 1922. Recipient, with Edward DeWitt Taylor, 
in 1920, of two silver medals awarded by American Institute of Graphic Arts 
in connection with Exhibition of American Printing, one for CaTaLocug, 
ETC., OF Drawincs AND EtcHINGs By REMBRANDT, FROM THE J]. PIERPONT 
Moraan Cottection, and other for stationery exhibited. In 1920, firm printed 
CATALOGUE OF THE Loan ExuIsITION OF PaintTINGs BY OLD Masters, and in 
1922, CATALOGUE OF THE RETROSPECTIVE LOAN EXHIBITION OF EUROPEAN TAPES- 
tries, both published by San Francisco Museum of Art and included in the 
“Fifty Books of 1923,” and “Fifty Books of 1924,” traveling exhibitions 
of American Institute of Graphic Arts. 


leaailes 


Beth i 














INDEX TO CHRONOLOGY OF PRINTING 


ARRANGED BY DATES 





A DLER, Elmer. See Modern Period in 


America. 

Aitken, R., 1782. 

Alcala, 1514. 

Aldus (Manutius), 1494, 1499, 1501, 1505, 
1515, 1562. 

Plost;. 1473+ 

Alvisio, Giovanni, 1479. 

Amerigo Vespucci, 1505. 

Amsterdam, 1672, 1675, 1698. 

Antwerp, 1473, 1493, 1496, 1497, 1498, 


1500, 1505, 1555, 1559, 1567, 1572, 
1867, 1876. 


Arden Press. See Modern Period in England. 
Ashbee, C. R. See Modern Period in England. 


Ashendene Press. See Modern Period in Eng- 
land. 


Audenarde, 1473. 

Augsburg, 1468, 1470, 1471, 1473, 1476, 
1477, 1478, 1482, 1486, 1487, 1512, 
iS tAout S20, 

Auriol, Georges. See Modern Period in 
France. 


Bic. Govaert, 1496, 1500. 

Bache, Benjamin Franklin, 1790. 

Bamberg, 1457, 1461, 1481, 1507. 

Bamler, Johann, 1476. 

Barcelona, 1493. 

Barckhusen, Herman, 1505. 

Bartlett, Edward Everett. See Modern Period 


in America. 


Basilae, Fadrique de, 1498, 1516. 





Baskerville, John, 1750, 1757, 1758, 1761, 
1762, 1764, 1784, 1785, 1789, 1807, 
1027; 

Basle, 1468, 1488, 1491, 1493, 1516, 1518, 
LS 2001 S25: 

Bassano, 1494. 

Bay Psalm Book, 1640. 


Beardsley, Aubrey. See Modern Period in 
England. 

Beaumont Press. See Modern Period in Eng- 
land. 

Behrens, Peter. See Modern Period in Ger- 
many. 

Bellenger, Georges and Clément. See Modern 


Period in France. 


Beltrand, Jacques. See Modern Period in 
France. 


- Belwe, Georg. See Modern Period in Ger- 


many. 

Benedictis, Plato de, 1487. 

Beraldi, Henri. See Modern Period in France. 

Berners, Dame Juliana, 1486. 

Bernhard, Lucian. See Modern Period in 
Germany. 


Bernouard, Francois. See Modern Period in 
France. 

Bewick, Thomas, 1780, 1790, 1795, 1796, 
1797: 

Bibles, 1450, 1456, 1457, 1460, 1462, 1476, 
1483, 1491, 1514, 1516, 1522, 1534, 
1539, 1558, 1564, 1572, 1655, 1657, 
1658, 1663, 1685, 1743, 1776, 1782, 
1791. See also Modern Period in England. 

Biel, Friedrich, 1498, 1516. 


[175 | 


| food Bed Oa CE @. 


Gere tan) OF LY OF Gua a 


PUR: DON aa aN 








Binny, Archibald, 1796, 1807, 1809. 
Blaubirer, Johann, 1482. 
Bodoni, Giambattista, 1768, 1771, 1772, 


1780, 1785, 1788, 1789, 1791, 1793, 
1902,11 007.00 1201610} 


Boekholt, Abraham, 1698. 
Bogeng, G. A. E. See Modern Period in Ger- 


many. 

Bologna, 1487. 

Bonfils, Robert. See Modern Period in France. 

Books of Hours, 1497, 1511, 1525. 

Boston, 1689, 1693, 1706, 1717, 1718, 1719, 
LPs 7219 

Bowyer, William, 1722. 

Boydell Shakspeare, 1786. 

Bradford, Andrew Sowle, 1712, 1714, 1719. 

Bradford, William, 1663, 1685, 1686, 1687, 
LOSSve1002;01 004.01 700018 7 1 2a 7255 
U7 2G. Oe e 

Bradford, William II, 1742, 1753, 1754. 

Bradley, Will. See Modern Period in America. 


Bradley, William Aspenwall. See Modern 


Period in America. 
Brandis, Lukas, 1475. 


Brangwyn, Frank. See Modern Period in Eng- 
land. 


Breda, Jacob van, 1473, 1493. 
Breitkopf, Johann, 1755. 
Breydenbach, Bernhard von, 1486. 
Brocario, Arnaldi Gulielmi de, 1514. 
Bruges, 1475, 1480. 

Brussels, 14.73, 1493. 


Bullen, Henry Lewis. See Modern Period in 
America. 


Bulmer, W., 1786, 1795, 1796, 1797, 1807. 
Burger, Karl. See Modern Period in Ger- 
many. 


Burgos, 1516. 











Burlington, 1687. 
Burne-Jones, Edward, 1853, 1859. See also 
Modern Period in England. 


Buschmann, Joseph-Ernest, 1842, 1880. 


C auixrus III, 1456. 

Cambridge, 1638, 1640, 1642, 1643, 1645, 
1646, 1648, 1649, 1650, 1651, 10525 
1654, 1655, 1656, 1657, 1658, 1663, 
1664, 1666, 1669, 1685. 

Campbell, John, 1704. 

Carr, Horace. See Modern Periodin America. . 

Caslon, William, 1716, 1722, 1734, 1750, 
1758, 1763, 1764, 1766, 1785, 1790, 
1821, 1844. 


Catholicon, 1460. 

Caxton, William, 1471, 1472, 1475, 1476, 
LA77 IAC Te LOO: 

Champ fleury, 1529. 

Chepman, Walter, 1508. 

Chiswick Press, 1810, 1844, 1889. 

Christian, Arthur. See Modern Period in 
France. 


Cissarz, Johann Vincenz, See Modern Period 
im Germany. 


Cleland, Thomas M. See Modern Period in 


America. 
Clement V, 1460. 


Cobden-Sanderson, T. J. See Modern Period 
in England. 


Colines, Simon de, 1497, 1520, 1521, 1526, 
1529, 1534, 1536, 1544, 1567. 

Collins, Isaac, 1791. 

Cologne, 1440, 1467, 1470, 1472, 1479, 
1499. 

Columbiad, The, 1807. 

Columbus, Christopher, Letter of, 1493. 

Complutensian Polyglot Bible, 1514. 

Congress, Proceedings of, 1824, 1833, 1834, 
1873. 


Coster, Lourens Janszoon, 1440. 


[ 176 | 


DCIS OX ae ec) 





Cottrell and Jackson, 1757, 1759. 
Cranach, Hans, 1522. 


Crane, Walter, 1894, 1896. See also Mod- 
ern Period in England. 


Cranmer, Bishop, 1539. 

Crantz, Martin (Kranz), 1470, 1473, 1476 
Cremer, Henry, 1456. 

Crés, Georges. See Modern Period in France. 
Cromburger, Jacob, 1527, 1539. 

Cuesta, Juan de la, 1605. 


Currier, Everett. See Modern Period in 
America. 


Czeschka, C. O. See Modern Period in Ger- 


many. 


Danter Press, 1845, 1877. 

Day, John, 1546, 1559, 1563, 1570. 

Daye, Matthew, 1646, 1648. 

Daye, Stephen, 1638, 1640, 1642, 1643, 
1645. 

Daye, Stephen, Press of, 1781, 1783. See also 
Stephen Daye. 


Decor Puellarum, 1469, 1471. 
DclfE ut 47 3341520. 


Denis, Maurice. See Modern Period in 
France. 

Deventer, 1473, 1493, 1496. 

De Vinne, Theodore Low. See Modern Period 
in America. 

Didot establishment, 1689, 1713, 1737, 1783, 
1786, 1801, 1819. 

Discovery of America (announced), 1493. 

Dodge, Philip Tell. See Modern Period in 
America. 

Don Quixote, 1605, 1780. 

Dorp, Rolant van den, 1497. 

Doves Press. See Modern Period in England. 

Draeger Fréres, 1887. See also Modern 

Period im France. 


Drugulin, W. See Modern Period in Ger- 


many. 


ClHVReOmNBOmiaOLG y. .O FF 








EV DNL aL Ne 





urer Albrecht; (1491, wL40o5) 1 5 hlsriie 25. 
1528. 
Dwiggins, W. A. See Modern Period in 


America. 


E cxmann, Otto. See Modern Period in Ger- 
many. 

Egenolff, Christian, 1528, 1530, 1534, 1537, 
1592, 1735: 

Eggestein, Heinrich, 1466. 

Ehmcke, F. H. See Modern Period in Ger- 
many. 

Eliot, John, 1654, 1655, 1658, 1663, 1666, 
1669, 1685. 

Elzevir Press, 1583,1595,1625, 1634, 1635, 
TO2Op M1 ORG TO 2 tOL0, 1054, 91055; 
1669, 1675, 1681. 


Enschedé Type-foundry, 1768. 

Ephrata, Die Bruderschaft in, 1748. 

Eragny Press. See Modern Period in Eng- 
land. 

Erasmus, 1491, 1516. 

Essex House Press. See Modern Period in 
England. 

Estienne, Henriso1407, 1502.1 520. 

Estienne, Robert, 1527, 1544, 1551. 

Estienne, Robert II, 1561. 

Euphorion-Verlag. See Modern Period im 
Germany. 


Eusebius (Jenson), 1470. 


F ALKE, Pierre. See Modern Period in France. 
Fell, Dr. John, 1668, 1672. 
Fell type, 1668, 1672, 1877. 
Filser-Verlag. See Modern Period in Ger- 
many. 
First Bible 
in world, 1450 
in France, 1476. 
in octavo, 1491. 
Polyglot, 1514. 
by Luther, 1522. 
in American Indian language, 1663. 


[177] 


IANS DPE WO 


Glee aOwUN  O..L) 0 (GeO 


POR IT Ne DelgNne 








First Bible— Continued 


in America in a current language, 1743. 
in America in German, 1743. 

in America in Gothic type, 1743. 

in America in English, 1782. 


First Book 


by Gutenberg, 1445. 

with printer’s name, place and date, 1457. 

with date and woodcuts, 1461. 

in Roman type, 1464. 

in Italy, 1465. 

in Venice, 1469. 

by Nicolas Jenson, 1470. 

in France, 1470. 

in Venice, in Gothic type, 1473. 

by Jenson in Gothic, 1475. 

by William Caxton, 1475. 

with decorated title-page, 1476. 

with title-page giving author, printer, place 
and date, 1476. 

in England, 1477. 

by Aldus Manutius, 1494. 

in Italic, 1501. 

in Scotland, 1508. 

in England in Roman, 1518. 

in New World, 1539. 

in North America, 1640. 

in English in the New World, 1640. 

in Philadelphia, 1688. 

in Connecticut, 1709. 


First Printed 


date, 1454. 

color, 1457. 

polemic, 1462. 

title-page, 1463. 

advertising circular, 1466. 

copper-plate illustration, 1477. 

specimen sheet, 1486. 

announcement of Discovery of America, 
1493. 

music from types, 1495. 

Shakespeare (quarto), 1593. 

Don Quixote, 1605. 

Shakespeare (folio), 1623. 

book-plate in America, 1642. 

edition of Mother Goose, 1719. 











First Printing 
in Netherlands (claimed), 1440. 
in Germany, 1450. 
in Italy, 1465. 
in France, 1470. 
in Netherlands (established), 1473. 
in Spain, 1474. 
in England, 1476. 
in Portugal, 1487. 
in New World, 1539. 
in Mexico, 1539. 
in Peru, 1584. 
in North America, 1638. 
in Cambridge, 1638. 
Fleet, Thomas, 1719. 
Fleishman, John Michael, 1728, 1734. 


Florence, 1477, 1495. 


Florian, Ernest and Frédéric. See Modern 
Period in France. 


Floury, H. See Modern Period in France. 

Formschneyder, Hieronymus, 1525, 1528. 

Fournier establishment, 1737, 1742, 1766, 
1790. 

Frankfort, 1509, 1530, 1537; 1504515008 
1735. 

Franklin, Benjamin, 1706, 1717, 1718, 1719, 
1721, 1723, 1724, 1727, 1728, 1729, 
1732) 1742, 1757, 1760, 1790. 

Franklin, James, 1717, 1718, 1719. 

Fraser, Claud Lovat. See Modern Period in 
England, 


French, George. See Modern Period in 


America. 


Freyburger, (Freiburger), Michael, 1470 
1473, 1476. 
Froben, John, 1491, 1516,1518,1520,1525. 


Froment, Emile and Eugéne. See Modern 
Period in France. 


Fry and Kammerer, 1807. 

Fry, Joseph, 1764. 

Fuhrmann, George Leopold, 1616. 
Furtner, Michael, 1493. 


Fust and Schoffer, 1457, 1459, 1460, 1462, 
1463, 1465. 


[ 178 | 


TNS SHA ao 





Cry RR Oy NeOei tO uG” Y. 


OG Hy PURPOR LOIN a LR LAIN 7G 





ANDY, Lewis C. See Modern Period in 
America. 


Garamond, Claude, 1497, 1536, 1541, 1544, 
BGO7 eI C02 @LOAa. 

Garnett, Porter. See Modern Period in 
America. 


Gering, Ulrich, 1470, 1473, 1476. 
Germantown, 1735, 1739, 1743, 1772. 


Gerstung, Wilhelm. See Modern Period in 
Germany. 


Geyssler, Valentin, 1561. 

Ghent, 1473. 

Gil, Geronimo, 1780. 

Gilliss, Walter. See Modern Period in 
America. 

Giraldi, Pedro, 1493. 

Giraldon, Adolphe. See Modern Period in 


France. 
Giunta, Filippo, 1489. 
Giunta, Luc Antonio, 1489, 1503, 1527. 
Glover, Jesse, 1638. 


Goodhue, Bertram Grosvenor. See Modern 
Period in America. 


Gouda, 1473. 


Goudy, Frederic William. See Modern Period 
in America. 


Gourmont, Gilles de, 1529. 


Grabhorn, Edwin. See Modern Period in 
America. 


Granjean, Philippe, 1693, 1740, 1745. 

Granjon, Robert, 1558, 1567, 1578, 1592. 

Grasset, Eugéne, 1883. See also Modern 
Period in France, and in Germany. 

Green, Samuel, 1648, 1649, 1650, 1651, 
1652, 1654, 1655, 1656, 1657, 1658, 
1663, 1664, 1685. 

Green, Timothy, 1709. 

Gregoriis, Joannes and Gregorius de, 1493, 
1494. 








Gress, Edmund G. See Modern Period in 


America. 
Grieninger, Johannis, 1 502. 
Grolier Club, 1884, 1885, 1886, 1889. 
SSTOlicY Cans LATO, 1 5LONe lS oar. 
Guerin, Charles. See Modern Period in 


France. 


Gusman, Pierre. See Modern Period in 
France. 


Gutenberg, Johannes, 1440, 1444, 1447, 
1454, 1456, 1460, 1468. 


Hasriem, 1440, 1473, 1493, 1768. 
Haebler, Konrad. See Modern Period in Ger- 


many. 

Hagenbach, Peter, 1504. 
Hague, 1687. 

Hain, Ludwig, 1826. 
Hah, Ulrich, 1467. 
Harris, Benjamin, 1693. 
Flasselt,314.7.3, 


Heintzemann, Carl H. See Modern Period 
in America. 


Helleu, R. See Modern Period in France. 


Henrick (die lettersnider), 1493, 1496, 
1520. 


Hertogenbosch, 1473. 
Heyder, Fritz. See Modern Period im Ger- 


many. 


Hiersemann, Karl W. See Modern Period in 
Germany. 


Hildreth, E. L. See Modern Period in 


America. 
History of Printing in America, 1810. 
Holbein, Hans, 1491, 1518, 1520, 1522, 
1525. 
Holl, Leonhard, 1482. 
Holtrop, J. W., 1857. 
Holzel, Hieronymus, 1511. 
Hélzl, Emil. See Modern Period in Germany. 
Homberch, Henrick Eckert van, 1498, 1505. 


[179] 


IND Pia eee) 


Geri ak Ow N} 0) DOORGRY 


OF) PR WNateiaae 








Hopfer, Daniel, 1520. 
Hornby, St. John. See Modern Period in 
England. 


Horne, Herbert P. See Modern Period in 
England. 


Hunter, Dard. See Modern Period in 
America. 


Hupp, Otto. See Modern Period in Germany. 
Hurus, Juan and Pablo, 1500. 


Hyperion-Verlag. See Modern Period in 
Germany. 


Toarra, Joachin, 1772, 1780. 

Imprimerie Nationale. See Modern Period in 
France. 

Imprimerie, Royale, 1640, 1642, 1657, 1693, 
1702, 1740, 1745. 

Incunabula, Reference Works about, 1793, 


1796, 1826, 1857. Modern Period in Eng- 
land, 1898. Modern Period in Germany, 


1892, 1904, 1905, 1907, 1914, 1916, 
1919, 1924, 1925. 

Indian Bible (Eliot), 1658, 1663, 1685. 

Indian Catechism (Eliot), 1654. 

Indian Grammar (Eliot), 1666. 

Indian Gospels (Eliot), 1655. 

Indian Primer (Eliot), 1669. 

Indian Psalms (Eliot), 1658. 

Insel-Verlag. See Modern Period in Ger- 
many. 

J ACOBY-Boy. See Modern Period in Ger- 
many. 


Janus Presse. See Modern Period in Germany. 


Jenson, Nicolas, 1470, 1471, 1474, 1475, 
1476, 1479, 1480, 1488. 

Johnson, Henry Lewis. See Modern Period in 
America. 

Johnson, Marmaduke, 1663, 1664, 1666. 


Johnston, Edward. See Modern Period in 
England. 








Jones, George W., 1887, 1889. See Modern 
Period in England. 


Jou, Louis. See Modern Period in France. 
Jouas, Charles. See Modern Period in France. 


Jugend. See Modern Period in Germany. 


Kemer, Samucl 1922.51 727,00 72.04 
Kelmscott Manor, 1871. 


Kelmscott Press. See Modern Period in Eng- 
land. 


Kennerley, Mitchell. See Modern Period in 
America. 


Kerver, Thielman, 1497, 1509, 1512. 
Kieffer, René. See Modern Period in France. 


Kippenberg, Anton. See Modern Period m 


Germany. 
Kistler, Bartholomaeus, 1493. 


Kistner and Siegel. See Modern Period in 
Germany. 


Kleukens, F. W. See Modern Period in Ger- 


many. 
Klingspor, Dr. Karl. See Modern Period in 


Germany. 

Knoblochtzer, Heinrich, 1477. 

Koberger, Anton, 1480, 1483, 1491, 1493, 
1498. 

Koch, Rudolf. See Modern Period in Ger- 


many. 
Koelhoff, Johann, 1472. 


Konig, Heinz. See Modern Period in Ger- 
many. 


Koster, Lourens Janszoon, 1440. 
Kranz (Crantz), Martin, 1470, 1473, 1476. 
Kuilenburg, 1473. 


Lauvrz, Maison. See Modern Period in 


France. 
Lane, John. See Modern Period in England. 
Lechter, Melchior. See Modern Period in 


Germany. 


Leeu, Gerard, 1473. 


[ 180 | 


TN DR Xe elo 


Geo RO sNCOSC GONG iY 








Leipzig. See Modern Period in Germany. 
Lenox, James (Gutenberg Bible), 1456. 
Lepére, Auguste. See Modern Period in 


France. 
Meydene 147-3, 14.07,'1511511:503,:102 5. 
Lima, 1584. 
Lirar, Thomas, 1486. 
Lithography, 1796, 1799. 
Loslein, Peter, 1476, 1477, 1483. 
Lotter, Melchior, 1522. 
Louvain, 1473. 
Liibeck, 1475. 
Luce, Louis, 1693, 1740. 
Luther family (type-founders), 1530, 1735. 
Luther, Martin, 1522, 1564. 


Lyons, 1473, 1478, 1480, 1487, 1556, 1558, 
1563, 1584. 


MM avr, 1605, 1772, 1780. 

Mainz, 1444, 1454, 1456, 1457, 1458, 
1459, 1460, 1463, 1465, 1479, 1485, 
1486, 1499, 1509. 

Mainz, Sack at, 1462. 

Maler, Bernhard, 1476, 1477. 

Mansion, Colard, 1473, 1493. 

Manutius, Paul, 1562. 

Mappa, Adam, 1791. 

Marchant, Guyot, 1493. 

Marchbanks, Hal. See Modern Period in 


America. 


Marées-Gesellschaft. See Modern Period in 
Germany. 


Martens, Thierry, 1493. 

Martin, William, 1786, 1795, 1797. 
Marty, A. E. See Modern Period in France. 
Mather, Cotton, 1689, 1693. 

Mather, Increase, 1689. 

Maximilian, Emperor, 1508. 


Mazarin, Cardinal, 1456. 











ae Pa RAVAN ra Lelie Ce 





McMurtrie, Douglas C. See Modern Period 
in America. 


Mecom, B., 1760. 
Medici, Cardinal de, 1578. 


Medici Society. See Modern Period in Eng- 
land. 


Mentelin, Johann, 1460, 1477. 

Meredith, Hugh, 1728. 

Mergenthaler, Ottmar. See Modern Period 
in America. 

Meslier, Denis, 1495. 

Mexico, 1539. 

Moeretorf, Jean, 1555. 

Monteregio, 1474, 1476. 

Morel, Guillaume, 1558. 

Moretus, Edouard, 1876. 

Moretus (Moeretorf), Jean, 1555. 


Mori, Gustav. See Modern Period in Ger- 
many. 


Morison, Stanley. See Modern Period in Eng- 
land. 


Mornay, G. and A. See Modern Period in 


France. 
Morris, William, 1834, 1853, 1859, 1871, 
1889. See also Modern Period in England. 
Moxon, Joseph, 1683. 
Miiller, Johannes, 1474, 1476. 
Munder, Norman T. A. See Modern Period 


in America. 


Myllar (Miller), Andrew, 1508. 


Nasu, John Henry. See Modern Period in 


America. 


Nelson, Robert Wickham. See Modern 
Period in America. 


Neumeister, Johann, 1479, 1487. 
New London, 1709. 


New York, 1686, 1693, 1694, 1709, 1725, 
D7ZO MUO i 


[ 18x | 


IGN DS EE. Kei lacO 


CAHMRY ONO. LL OvGay 


OF ) PeRel Nees 











Nicholas, V, 1454. 

Nicholls, Nicholas, 1665. 

Nicol, George, 1786. 

Nijmegen, 1473. 

Nuremberg, 1474, 1480, 1483, 1491, 1493, 


1498, 1511, 1514, 1517, 1525, 1528, 
LSOT 1 0T O17 O2. 


Nuremberg Chronicle, 1493. 


O rFenBAcH Werkstatten. See Modern 
Period in Germany. 
Olpe, Bergmann von, 1493, 1494. 


Orcutt, William Dana. See Modern Period in 
America. 


Oswald, John Clyde. See Modern Period in 


America. 
Oxford University Press, 1585, 1668, 1672, 
1693. 


‘Pastos, Juan, 1539. 

Pacioli, Luca, 1509. 

Paderborn, Johann von, 1473. 

Padua, 1473. 

Paffraet, Richard, 1473. 

Palmart, Lambert, 1474. 

Pannartz, Arnold, 1465, 1467, 1468, 1469. 

Panzer, GaAw .11702; 

Paris, 1470, 1473, 1476, 1477, 1488, 1493, 
1405; 1407, 15 O2suL hie, mls 2O;mty ers 


1525, 1527, 1529, 1534, 1536, 1544, 
E5515 5855 0, ll 00, 1501.01 O40smLOAes 


1657, 1693, 1702, 1713, 1737, 1740, 
T7A8 5) 270001 703 snl 7 oO; moO lagen Oe 
1882, 1883. See also Modern Period in 
France. 

Parker, James and Company, 1757. 

Parma, 1768, 1771, 1780, 1785, 1789, 
L7O1; 17031 bOs-ee 102 

Parsifal, 1477. 


Peignot, Georges and André. See Modern 
Period in France. 


Pelletan, Edouard. See Modern Period in 
France. 


Pennell, Joseph, 1889. 

Petreius, Johann, 1525. 

Petri, Adam, 1520. 

Pfeil, Johann, 1507. 

Pfister, Albrecht, 1461. 

Pflanzmann, Jodocus, 1470. 

Philadelphia, 1686, 1688, 1712, 1719, 1723, 
1727, 1720s 1720. 74230 75 Aa elee 
1790, 1796, 1807, 1809. 

Pichon, Léon. See Modern Period in France. 

Pickering, William, 1821, 1827, 1844. 

Pictor, Bernard, 1476, 1477. 

Pigouchet, Philippe, 1488. 

Pine, J ohmei743; 

See Modern Period in 


Pissarro, Lucien. 
England. 


Planes, Miguel de, 1493. 

Plannck, Stephen, 1493. 

Plantin, Christopher, 1555, 1559, 1567, 
1572, 1007, 1570: 

Plantin Museum, 1867, 1876. 


Poeschel, Carl Ernst. See Modern Period in 
Germany. 


Point System, 1737, 1878, 1886. 


Pollard, A. W. See Modern Period in Eng- 
land. 


Polyglot Bibles, 1514, 1572, 1657. 
Portesia, Bartolomio de Zani da, 1497. 
Portugal, 1487. 

Posa, Pedro, 1493. 


Proctor, Robert. See Modern Period in Eng- 
land. 


Propylaen-Verlag. See Modern Period in 


Germany. 
Priiss, Johann, 1488. 
Psalterium, Mainz, 1457. 


Pulcria Biblia, 1462. 


Pynson, Richard, 1493, 1494, 1495, 1518, 
i522 1,01 Sek: 


[ 182 | 


IND OVS eae) 
Quentett, Heinrich, 1479. 


Rarvott, Erhard, 1476, 1477, 1480, 1482, 
1483, 1486, 1487, 1498, 1505. 


Ratio-Presse. See Modern Period in Ger- 
many. 


Regensburg, 1470. 
Regiomontanus, 1474, 1476. 


Reigate Press. See Modern Period in Eng- 
land. 


Reuwich, Erhard, 1486. 
Reyser, Georg, 1482. 


Riccardi Press. See Modern Period in Eng- 
land. 


Ricketts, Charles. See Modern Period in Eng- 
land. 


Ricketts and Shannon. See Modern Period in 
England. 


Rodin, Auguste. See Modern Period in 
France. 


Rogers, Bruce. See Modern Period in 
America. 


Roland-Verlag. See Modern Period in Ger- 


many. 


Rollins, Carl Purington. See Modern Period 


in America. 


Rome, 1467, 1468, 1493, 1562, 1578, 1587, 
1590, 1610, 1628. 


Ronaldson, James, 1796, 1809. 

Rossetti, Dante Gabriel, 1859. 

Roy, Guillaume Le, 1473, 1480. 

Rudge, William Edwin. See Modern Period 


in America. 
Ruppel, Berthold, 1468. 
Rusch, Adolph, 1464. 


S ARAGOSSA, I 500. 


Sattler, Joseph. See Modern Period in Ger- 
many. 


Sauer, Christopher, 1735, 1739, 1743. 
Sauer, Christopher II, 1772, 1776. 
Scheldt, Jacob, 1687. 


Girl eRe CeIn Oma GY iy Oy Ft 











oO Sr Get oe Be Pao Ge 





Schiedam, 1473. 
Schéffer, Johann, 1509. 


Schoffer, Peter, 1456, 1459, 1484, 1485, 
1486. 


Schénsperger, Hans, 1520. 

Schonsperger, Johann, 1508, 1512, 1514, 
15 17: 

Schoonhoven, 1473, 1496. 

Senefelder, Alois, 1796, 1799. 

Sensenschmidt, Johann, 1481. 

Serlio, Sebastian, 1537. 

Seversz, Jan, 1511. 

DevVillemee 27.416 70. 

Seymour, Ralph Fletcher. See Modern Period 


in America. 
Shakespeare, William, 1593, 1623. 
Shakspeare Press, 1786, 1795, 1797. 


Sherbow, Benjamin. See Modern Period in 
America. 


Silber, 1493. 


Simplicissimus. See Modern Period in Ger- 
many. 


Sixtus V, 1587. 


Société Artistique du Livre Illustré. See 
Modern Period in France. 


Société des Amis des Livres. See Modern 
Period in France. 


Specimens, Sheets and Books, 1486, 1525, 
HS O01, 507,01 502, £01011625,11605, 
1681, 1693, 1734, 1757, 1762, 1763, 
1771, 1785, 1790, 1809, 1813, 1819, 
1532: 

Speyer, 1471, 1472. 

Speyer, Johannes, 1469, 1470. 

Speyer, Wendelin, 1469, 1470, 1473. 

St. Albans, Book of, 1486. 

St. Albans, Schoolmaster of, 1486. 

Stampa Vaticana, 1587, 1610, 1628. 

Stamperia) Realei1768, 1771; 1780, 1785, 
1789, 1791, 1793, 1802, 1813. 


[ 183 | 


DIN, Ditisss cle) 


Gp ELae Re COnUN WA) Ls) Smny 


OR MEPS TRIN ee aos 





Star Chamber Decree, 1637. 


Steglitzer Werkstatt. See Modern Period in 
Germany. 


Steiner-Prag, Hugo. See Modern Period in 
Germany. 


Stempel Schriftgiesserei. See Modern Period 
im Germany. 


Stendal, Albert von, 1473. 

Stephenson, Blake & Company, 1757, 1759. 

Strassburg, 1460, 1464, 1466, 1477, 1488, 
1493, 1499, 1502, 1528. 

Strawberry Hill Press, 1758. 

Subiaco, 1465, 1467. 

Sitterlin, Ludwig. See Modern Period in 
Germany. 

Sweynheym, Conrad, 1465, 1467, 1468, 
1469. 


T avzor, Henry Huntly. See Modern Period 


in America. 


Teague, Walter Dorwin. See Modern Period 
in America. 


Tempel-Verlag. See Modern Period in Ger- 


many. 

Ther Hoernen, Arnold, 1470. 

Thomas, Isaiah, 1785, 1789, 1791, 1810. 

Tiemann, Walter. See Modern Period in 
Germany. 


Tinayre, Julian. See Modern Period in 
France. 


Toledo, 1504. 

Torresani, Andrea de, 1480, 1483, 1488, 
1499. 

Tory, Geofroy, 1480, 1497, 1509, 1518, 
1520, 1525, 1526, 1527, 1529, 1530, 
1536, 1558. 

Tournes I, Jean de, 1556, 1558, 1563. 

Tournes II, Jean de, 1584. 

Tours, 1555. 

Trenton, 1791. 


Turrecremata, Cardinal, 1467. 








Ui, 1473, 1482, 1486. 
Updike, Daniel Berkeley. See Modern Period 


in America. 


V arparFer, Christopher, 1470. 

Vale Press. See Modern Period in England. 

Valladolid, 1493. 

Van Dijk, Christoffel, 1654, 1672, 1681. 

Vascosan, Michael, 1560. 

Vatican Printing, 1578, 1587, 1590, 1610, 
1628. 

Venice, 1469, 1470, 1471, 1473, 1475, 
1476, 1477, 1479, 1480, 1482, 1483, 
1486, 1488, 1493, 1494, 1499, 1501, 
1503, 1505, 1514, 1515, 1524, 1527. 

Verard, Antoine, 1488. 

Vermont, 1781, 1783. 

Verona, 1472, 1479. 

Vespucci, Amerigo, 1505. 

Vettiner, J. B. See Modern Period in France. 

Vierge, Daniel, 1882. See also Modern Period 
in France. 

Vinci, Leonardo Da, 1509. 


Vogeler, Heinrich. See Modern Period in 
Germany. 


Vollard, Ambroise. See Modern Period in 
France. 


Voskens, Dirck, 1672. 
Vostre, Simon, 1488. 


Voulliéme, E. See Modern Period in Ger- 
many. 


W arxer, Emery. See Modern Period in 
England. 


Walpole, Horace, 1758. 
Walton, Brian, 1657. 


Warner, Philip Lee. See Modern Period in 
England. 


Weiss, E. R. See Modern Period in Germany. 
Wenssler, Michael, 1488. 


[ 184] 


WEIN Ore Ny ee C) 





Westminster, 1476, 1477, 1491, 1495. 
Whitchurch and Grafton, 1539. 
Whittinghams, The (Charles), 1810, 1844. 
Wieynk, Henry. See Modern Period in Ger- 


many. 

Wilson, Alexander and Son, 1833. 
Wittenberg, 1522. 

Woerden, Hugo Janssoen van, 1497. 
Wohlgemuth, Michael, 1491, 1493. 

Wolf, Jacob, 1493. 

Wolff, Kurt. See Modern Period in Germany. 


Cea Ornament OF 





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Worcester, 1785, 1789, 1791, 1810. 
Wurzburg, 1482. 
Wynkyn De Worde, 1491, 1493, 1495. 


X mens, Cardinal, 1504, 1514. 


ZLaner, Ginther, 1468, 1471, 1472, 1473, 
1477, 1478. 
Zainer, Johann, 1473. 


Zeeland, 1473. 
Zell, Ulrich, 1467. 
Zwolle, 1473. 


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HERE ENDS THE VOLUME “THE TYPOGRAPHIC TREASURES IN 
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WITH THE CHRONOLOGY BY JULIUS W. MULLER, SET IN 
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